Marta Jovanovic (Serbia)
Location One International Committee

Throughout her multimedia works, Marta Jovanovic constructs scenarios in which she interrogates identity, beauty and sexuality. Whether through performance, drawing or photography, her interdisciplinary practice provokes a reconsideration of the dictates of culture and the construction of sexual identity. Appropriating the instantly recognizable characteristics of fashion mediums, her works reveal the limitations of the traditional canon of beauty while drawing attention to the fluidity of gender. Her performances, videos and photographs are an invitation to disregard conventional notions of beauty and embrace a more democratic vision of representation, free from all constraints.

Belgrade born (1978), Jovanovic lives and works between London, New York and Rome. She received Bachelor of Arts degree from Tulane University in 2001 after attending Scuola Lorenzo de Medici, in Florence. In the cradle of Renaissance, she mastered the Italian language, literature and belle arti. The florentine experience had an immense impact on the young artist sharpening her sense of aesthetics and classical canons that continue to influence her entire ouvre. Provocatory works of Marta Jovanovic have been exhibited in Europe and the United States, in collaboration with eminent curators and artists.

]]>Blackbirdhttp://www.location1.org/blackbird/
Wed, 17 Apr 2013 00:00:23 +0000http://www.location1.org/?p=2446A new play by Lucia Cox. Directed by Nathan Shreeve
]]>Location One presents a Schmucks Theatre production

Blackbird

by Lucia Cox
directed by Nathan Shreeve

Produced in arrangement with House of Orphans

US PremierePerformances begin April 16

“You know, I was born an egg, a little hard brown egg. But I cracked into a river and my insides came out and I was just about drowned and would have fallen to pieces by now were it not for him, plucking me out, saving me, I guess.”

Alone in a room of scattered pomegranates and stained walls, the ‘Blackbird’ shares the secrets of her past and the disturbing reason she’s in love with the man upstairs.

‘I suspect we will be seeing more of Cox after this impressive debut.’ British Theatre Guide

]]>Phosphene Performanceshttp://www.location1.org/phosphene-performances/
Sun, 09 Sep 2012 21:13:41 +0000http://www.location1.org/?p=2096A series of weekly performances by dance legends, as well as up-and-coming artists, throughout the duration of the exhibition Phosphene Variations. Jason Akira Somma will “perform” with the artists using his revolutionary video techniques, exploring the undiscovered edge between visual and performance art, as it uses performance as the well-spring for independent visual content.
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“Phosphene Variations” will premiere at Location One September 12th, featuring a holographic participation by Jiří Kylián, live and holographic performances by Frances Wessells, and Leslie Kraus, and an introductory context statement by Kate Valk of the Wooster Group. The exhibition will also include weekly performances by dance legends, as well as up-and-coming artists, throughout the duration of the exhibition. Somma will “perform” with the artists using his revolutionary video techniques, exploring the undiscovered edge between visual and performance art, as it uses performance as the well-spring for independent visual content.

Frances Wessells has worked with dance legends including Erik Hawkins, Hanya Holm and Martha Graham. She has performed all over the globe. Frances started the Dance program at Virginia Commonwealth University in 1981 and, through teaching there for 25 years, has profoundly influenced the lives of several generations of dancers. She is grateful that late in life people are still interested in watching her dance and in learning the art and theory of dance from her. Her passion has never waned, nor has her will to push the boundaries of dance, teach life through dance and to move in beautiful ways.

Frances will be creating an improvised solo specifically designed to interact with Jason Somma’s video feedback and Chris Lancaster’s sound score for electric cello.

Leslie Kraus graduated from Virginia Commonwealth University with a BFA in Dance and Choreography in 2003, and subsequently danced with Curt Haworth and Robbinschilds as well as in her own work in New York. Leslie joined Kate Weare Company in 2006. In 2009, she was recognized for outstanding dancing in Dance Magazine’s annual list of “Top 25 Dancers to Watch.” Leslie routinely acts as Weare’s assistant director, most recently for a commissioned work on dance students at the NYU Tisch School. She is a featured soloist in an opera Weare is working on with composer Barbara White to premiere at Princeton University in March 2012. In 2009, critic Deborah Jowitt of The Village Voice wrote: “(Leslie) Kraus is amazing – demon and angel.”

Christopher Lancaster is an electro-acoustic cellist composer living in Brooklyn, New York. He trained as a classical cellist, but endeavors to expand the ideas of what a cello can be, and what sounds it can create. His solo compositions are performed live using a wide array of effects, samplers and speaker sculptures to create encompassing, cinematic and otherworldly sounds.

Wednesday, Sept 19th
Kira Rae Blazek
Burr Johnson

Kira Rae Blazek grew up in Houston Texas, and was classically trained at Houston Ballet Academy, she received her BFA in Modern Dance Performance from the University of Oklahoma. Blazek then moved to Chicago where she joined Hubbard Street 2 and toured extensively in the U.S. and Germany. In 2008, Blazek moved to New York and was immediately picked up by Douglas Dunn & Dancers. She has also danced for Bill Young, Nicole Wolcott, Christopher Williams, Jack Ferver, Ryan McNamara, Sally Silvers, and Pilobolus Creative Services. In 2009, she was invited to guest with Anoukvandijkdc (Netherlands). In June 2012, she became one of four Americans certified to teach Countertechnique, a contemporary dance technique developed by Anouk van Dijk. As a choreographer, Blazek has presented works at Galapagos Arts Space for the 60×60 Festival, Dixon Place, and Danspace St.Mark’s Church. She also delights in music videos and has appeared as a soloist in music videos for Mac Miller and Beach House. She is currently a performer for Shen Wei Dance Arts.

Kira will be creating an improvised solo specifically designed to interact with Jason Somma’s video feedback and Chris Lancaster’s sound score for electric cello.

Burr Johnson is from Virginia Beach, VA. He holds a B.F.A in Dance and Choreography from Virginia Commonwealth University. He dances in the works of a few choreographers including Helen Simoneau, Christopher Williams, Shen Wei, and John Jasperse. He has also worked with artists Yozmit, Ryan McNamara, and Benny Nemerofsky Ramsay. His dances havebeen presented at art6 Gallery, Judson Church, Dixon Place, OneArmRed, Elizabeth Dee Gallery, Josée Bienvenu Gallery, and Danspace Project.Burr also teaches dance from time to time and gardens.

Burr will be sharing phrase material and improvisational ideas to be used in his next piece. This will be solo research for a sextet that he will not perform. burrjohnson.wordpress.com

Christopher Lancaster is an electro-acoustic cellist composer living in Brooklyn, New York. He trained as a classical cellist, but endeavors to expand the ideas of what a cello can be, and what sounds it can create. His solo compositions are performed live using a wide array of effects, samplers and speaker sculptures to create encompassing, cinematic and otherworldly sounds.

Wednesday, Sept 26th
Flexers

Wednesday, Oct 10th
Dirty Martini
Julie Atlas Muz
Monstah Black

Miss Dirty Martini
Miss Exotic World 2004, The International Burlesque Sensation, Miss Dirty Martini, is one of the most recognized names in new burlesque. Miss Martini has delighted audiences with her Fan Dance, Balloon Striptease, Dance of the Several Veils, Shadow Strip and other classic burlesque revivals. She has won the Sally Rand Award for her performance at the Exotic World Museum in CA.

Dirty will be performing some of her favorite acts.

Julie Atlas Muz, one of the most acclaimed and prolific conceptual performers and choreographers in New York, sucker punches the boundaries between performance art, dance and burlesque with dark, twisted, come-hither performances that have secured her place in the underworld of nightlife as well as the bastion of the art world. On any given night in New York City, you can see Julie Atlas Muz peeling off the outlandish costumes she dons, covered in fake blood in the basement of a gay bar or co-hosting America’s Favorite Burlesque Gameshow This or That! on public access–in essence, expressing her bawdy, irreverent and unexpected sense of humor. Muz has presented her work at P.S. 122, HERE, The Performing Garage and Art at St. Anne’s Warehouse, chashama, LaMama, The Kitchen, and Dixon Place. Late at night you can see Julie Atlas Muz perform regularly in New York at the all the right locations. Muz has been awarded Artist- in-Residency status from Chashama (2002), Joyce Soho (2001), Mondo Conne Artist-in-Residency at Dixon Place (2000) and Movement Research Artist-in-Residence (1998-99). 2004 Whitney Biennial Artist and a 2005 Valencia Bienal Artist.

Julie will be performing some of her favorite Burlesque acts.

Monstah Black, a new York based artist (singer, songwriter, musician and choreographer), known for his stage performances that blur the lines of genre and gender. Born and raised in historical Colonial Williamsburg, Virginia, Monstah was exposed at birth to not only the pulpit rocking sounds of the southern Baptist Church and the classical sounds of Roman Catholic Church but also Soul, R&B, Rock, Funk and Disco. His aesthetic reflects this upbringing revealing influences of Prince, David Bowie, and Sylvester. Monstah holds an M.F.A in New Media Art and Performance from Long Island University and is currently an artist in residence at Dance New Amsterdam.

Monstah Black will be improvising live with movement and singing a selection from his show Submerged In Blue of 2010.

Phosphene Variations
by Jason Akira Somma

Location One is proud to present “Phosphene Variations”, a new video/performance/holographic exhibition by Jason Akira Somma.

The greatest dancers and performance artists of our time—Laurie Anderson, Mikhail Baryshnikov, Joan Jonas, Robert Wilson and others—perform their signature movements and are captured as floating holograms, which members of the audience can interact and perform with.

This new technology will redefine the ways in which we access, record and experience dance and performance. This is the first ever interactive performance holography exhibition, premiering September 12th at Location One.

“Phosphene Variations,” a performance happening-and-exhibition event created by Jason Akira Somma, introduces interactive archival performance holography to the worlds of dance and performance art. Somma’s approach has been described as “the future of dance and art” by Daniel Stern, Director of the Jerome Robbins Foundation; as “A true revolution…stupefying poetry, humanity and invention” by Le Figaro. Jiří Kylián, longtime Artistic Director of Nederlands Dans Theatre, has said, “dance has to be taken out of its isolation, and Jason has the range to do this.”

“Phosphene Variations” will premiere at Location One September 12th, featuring a holographic participation by Jiří Kylián, live and holographic performances by Frances Wessells, and Leslie Kraus, and an introductory context statement by Kate Valk of the Wooster Group. The exhibition will also include weekly performances by dance legends, as well as up-and-coming artists, throughout the duration of the exhibition. Somma will “perform” with the artists using his revolutionary video techniques, exploring the undiscovered edge between visual and performance art, as it uses performance as the well-spring for independent visual content.

Live performances will take place each week through November 15th (Please note that November 8 and 15 are Thursdays). Interaction with holographic performers, and video works will be on exhibit during Location One’s normal gallery hours and otherwise available by prior arrangement.

Jason Akira Somma is an internationally recognized visual artist and choreographer known for his unique hybridization and extensive training in both fields. His most recent mentor is Jiří Kylián. He was the first American to receive, the Rolex Arts Initiative Award for dance, supporting his work in performance visual art and technology in 2008. “Phosphene Variations” was developed with support from the Rolex Mentor and Protégé Arts Initiative, which pairs emerging artists with masters in the fields of dance, film, literature, music, theatre, and visual arts for a year of creative exchange.

The “Phosphene Variations” approach involves video recordings of dancers and performance artists on stage, which are then made into holographic installations. This constitutes the permanent visual record of the artist, which will be made available to the artistic community. But Somma’s technology then allows the holographic recording to be projected onto a fine screen of water mist. When live participants interact with the screen, the image responds to their intervention, creating the “dance with legends” possibility.

Jason Somma is the only artist today applying this technology to archiving dance. A prototype of “Phosphene Variations” was premiered at the National Theatre of Paris in 2011, to rave reviews. William Forsythe said, “Jason has done for video what Jackson Pollock did for the canvas. He is an electronic archeologist and spearheading the next movement in dance.” Dance Magazine said, “a small piece of dance history. At times dazzling and full of brilliant colors, the performance is woven by a dialogue between the real and virtual, and the human and technological.” Telerama (Paris) said “offers performers, if not the role of their lifetime, a role that fits them perfectly. Suddenly before your eyes, true lighthearted beauty.”

“Dance IS a visual art,” says Somma. “ The body has always been the native land of any artistic endeavor. However, due to the ephemeral and ineffable nature of performance and kinesthetics, we’ve lost the wisdom of our historic predecessors. I want to generate performance happenings that create autonomous pieces of art and with “Phosphene Variations” go a step further and allow spectators to interact with such legends beyond their life span for future generations to enjoy and garner knowledge.”

Jason Akira Somma, raised in Virginia, graduated summa cum laude from Virginia Commonwealth University. In ensuing years, he danced with Bill T Jones/Arnie Zane Company and Pearson/Widrig, and choreographed for Sadlers Wells in London, Chaillot National Theater in Paris, and Lyon Opera Ballet. His video work has been exhibited at New York’s New Museum and Guggenheim Museum and Glasgow Center of Contemporary Art.

Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs,and Location One’s International Committee for making this event possible.Gallery Hours
Tuesday-Saturday 12-6pm
Opening Reception September 12, 6-9pm
Opening Night Performance 7pm, free and open to the public
All other Wednesday Performances $10

Location One is proud to present Conductivity, an exhibition presenting different perceptions of time and space, featuring works by Ana Freitas, Michaela Müller, and Tommy Støckel, and a dance performance by Andrea Yugoslavia Chirinos. The opening reception will take place on Thursday, June 28, from 6–8pm, with Chirinos’s dance performances scheduled for 7pm and 7:30pm. An additional event on Friday, June 29, at 7pm, will feature artist Ana Freitas in conversation with scientist Brian Schwartz.

Conductivity looks at how these artists explore distinct ideas of time from a variety of perspectives—systemic, scientific, phenomenological, and experiential. The artists approach time as both transitory and universal, a force that continuously shifts our experience of the environment. Their works act as energy conduits, either evoking a sense of rapid flow through chaotic images and implied movement or conveying a sense of timeless quietude through a systemic and controlled composition. Time is not experienced sequentially or chronologically, but as a prolonged, directionless presence. The works on view abandon the idea of time as random and haphazard in favor of construction, concentration, and intention; although the works are themselves site-specific and temporal, they explore the timeless and constant quality of duration.

In the animated installation Location Scouting: Airport, Swiss artist Michaela Müller uses airports as a paradigm for the highly standardized communication of global societies. Her film animations have no specific narrative. Her figures melt into an endless flow of moving images. Müller’s hyper-meticulous animation technique, which involves hand-painting each individual frame on glass, gives her films a lush, textured quality that emphasizes the vibrancy of color, the rhythm of brushstrokes, and the gravity, liquidity, and luminosity of paint. Location Scouting is a visual inquiry into the “painted” location of a film animation. Her accompanying installation, called Trial and Error, illuminates facets of her unique process.

Müller was born in St. Gallen, Switzerland. She lives and works in Croatia and in Switzerland. She graduated with an MA in Animation and New Media from the Academy of Fine Arts in Zagreb, Croatia (2009). Müller’s acclaimed eight-minute film animation, Miramare (2009), made its international premiere at the 2010 Cannes Film Festival, and has been shown at more than one hundred festivals since that time. It has won eighteen prizes, among them the Grand Prix of Animateka International at the Animation Festival Ljubljana, the Golden Centaur for Best Debut Film at Message to Man Film Festival in St. Petersburg, and the Swiss Film Prize Quartz. In 2011, Miramare was among the thirty films nominated for the European Cartoon d’Or Award. Michaela’s residency is made possible by Pierre Nussbaumer, C. und A. Kupper Stiftung, Kulturförderung Kanton Appenzell Ausserrhoden, Kulturförderung Kanton St.Gallen

Danish artist Tommy Støckel’s installation Structured Studio Situation (New York) is a sculptural arrangement of approximately 1,500 objects placed directly on the gallery floor, according to a carefully planned composition. The display is based on the repetition of randomly placed elements. Through the replication of a single unit, Støckel creates a tight structure that shifts from an identical pattern into multiple compositions generating a variety of structural possibilities. His work plays with issues of scale, seriality, and repeated randomness—a study in controlled environment and organized chaos. Støckel’s sculptural installation for Conductivity, created during his residency at Location One, has the exact dimensions of the artist’s studio floor. It aggregates items accumulated by the artist in his studio and objects collected nearby in SoHo, from sculptural models to found materials like chopsticks and Styrofoam cups.

Støckel was born in Copenhagen in 1972, where he attended the Royal Danish Academy of Fine Arts. He is currently based in Berlin. In his preferred medium of sculpture, he explores binary ideas—reality and artificiality, fiction and history, handmade versus digital, minimal and baroque, permanence and temporality. His solo exhibitions include What Already Was and What Could Have Been, at Helene Nyborg Contemporary, Copenhagen; 3 Sculptures, at SMART Project Space, Amsterdam; Simulation & Decoration, at Rena Bransten Gallery, San Francisco; Tommy Støckel’s Art of Tomorrow, at Arnolfini, Bristol; From Here to Then and Back Again, at Kunstverein Langenhagen, Langenhagen; and Ist das Leben nicht schön?, at Frankfurter Kunstverein, Frankfurt am Main. Tommy’s residency is made possible by the Danish Arts Council.

Ana Freitas’s photogram series Dialogue about Time started with an inquiry: What is the nature of time? The work is based on an intense dialogue about time between the artist and cosmologist Mário Novello. The interdisciplinary encounter of arts and science is currently at the center of her artistic investigations. In this cacophonic dialogue, Freitas tries to visually represent a panoply of complex issues related to time and space. Her attempt to illustrate the nature of time based on a scientific discourse underscores the distance between these two worlds, since one language can never be fully translated into the other. Her photograms—photographic images without the use of the camera–are a visual conduit for issues related to the gravitational field, fluidity, matter, cosmic structures, geometry, continuum space, constant movement, density, and endless flow. They hint at the poetic notion of time and space as pure imagination, with its imprecision and endless interpretations. Ana’s residency is made possible by the Ministry of Culture of the Brazilian Government, Portas Vilaseca Gallery in Rio de Janeiro.

Freitas lives and works in Rio de Janeiro, Brazil. Time, geometry, nature, and the morphology of the creative process are part of her research universe. Her mediums include drawing, photography, artist’s books, printmaking, and sculpture. She had exhibited at Galeria Portas Vilaseca, Solar Grandjean de Montigny Puc-Rio, and Castelinho do Flamengo, Rio de Janeiro. She is represented by Galeria Portas Vilaseca from Rio de Janeiro.

Andrea Yugoslavia Chirinos is a dancer and choreographer based in Mexico City and New York. Her work is influenced by the visual arts, dance, photography, and human attitudes and gestures. Chirinos uses movement to create nonlinear narratives that allow the viewer to experience their own perception of time, focusing on images, sensations, and emotional states. In her dance performance Everything Expires, she explores non-narrative, fragmented perception and distorted lapses of time, combining such disparate elements as humor, movement, and theatrical characters. Everything Expires borrows elements from the Japanese artist Daido Moriyama, a photographer who takes pictures in the Tokyo district of Shinjuku, recording reality but never trying to create a perfect image. Like Moriyama, Chirinos appropriates the raw power of reality, engaging in energetic movement as a gesture of internal desire. In her dance performance, the photographer and her assistant conduct a bodily dialogue about memory and time-related issues.

Chirinos was born in Mexico City, where she studied dance and art history. She moved to New York in 1994. As the director of the Mexico City–based dance company Mitrovica Danza Contemporanea, she has choreographed several works, including Enredos, which won the Mexican National award. She often performs in galleries and museums instead of theaters in order to be closer to the viewer. Chirinos has collaborated with artists such as Martin Creed, Los Super Elegante, and Mario Garcia. Andrea’s residency is made possible by The Mexican Cultural Institute of New York and Location One’s International Committee.

Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs, Pierre Nussbaumer, C. und A. Kupper Stiftung, Kulturförderung Kanton Appenzell Ausserrhoden, Kulturförderung Kanton St. Gallen, the Ministry of Culture of the Brazilian Government, Portas Vilaseca Gallery in Rio de Janeiro, The Danish Arts Council, The Mexican Cultural Institute of New York, and Location One’s International Committee for making this event possible.

Sound design by Shawn Greenlee
Videographer: Agata Domanska

The Kiss is an exhibition mapping a system uniting two bodies. It is a gesture, magnified by the use of sound, emerging from the action of kissing and intensified by the working presence of the performer’s body.

Throughout the space each element is woven by simple associations between body (present and absent), sound, and various materials which are all used to reveal the nature of this binding gesture: the kiss. The exhibition does not display one privileged moment of the kiss – rather, it dislocates it through its many representations, thereby underlining an aural intensity which evokes the possibility of an image of kissing within each spectator.

The exhibition could also be thought of as a microscope slide where some of the components of kissing are extracted and isolated in order to better understand them. It is not a rendering, it is not a choreographed sequence, it doesn’t function within linear time. But it proves the force contained in a simple gesture (kissing) simultaneously giving it a voice and an expanded corporeality.>/p>

The audio element is integral to the piece, much more essential than simply serving as a “soundtrack.” On the video “Strap”, the association between a plastic strap used to connect two cables, and the sound it produces when closed is linked with the sound of a kiss. Both sounds are connected by an image where the actual gesture of sending a kiss is recorded while simultaneously two hands close a plastic strap. These two parallel actions, shown digitally, are reflected into the space in the form an object created by the plastic straps.

“The Kiss” (long durational performance), a breathing system where the performer’s body becomes the intersection enabling the entire organism to work, reveals the intricate rhythm between lungs, fluids and muscles while kissing. The body is the kiss: the plane of action created by it. This intersecting plane finds its translation into sound via the repetitive action of inflating and deflating two huge latex balloons.

“Muted”, the second video in the installation, refers to childhood memories of wondering what kissing might feel like; the embracing aspect of it, is associated with the binding function of the straps, the sound carried by the cables interconnecting the speakers, the kisses sent and the edited sound produced by a couple kissing (from where the actual sound emerges)…all of them fluid extensions of the kiss into the space.

Sound as fluid, sound as connector, sound as image, sound as memory, sound, body, sound…time suspended in and by a gesture…also a sound…a minimal voice.

Location One presents an evening of dance performance and live video, curated by dancer/choreographer Luke Miller. He has recruited some of hottest dancers and choreographers from the downtown dance scene to create some very special performances for the evening.

The dancers will be performing in a video environment created by Jason Akira Somma, who has developed his own analog video technique in which the video signal itself becomes the performer. Using discarded, malfunctioning and obsolete electronics, Somma creates his own custom video mixers from scrap parts to create unique and unexpected effects. Drawing on his background in dance, he carefully moves his body in sympathy with the subject, which then directly affects the video being generated in real time through video feedback, creating a new interactive world.

“Nam June Paik meets performance art. He is an electronic archaeologist.”
-William Forsythe

“A magician of light.”
-Chrissie Iles

“The future of art and dance.”
-Le Figaro, Paris 2010

Approaching the evening as a collaboration of all those involved, Vanishing Acts exposes a friction between the recent physical history within a space and the specter of memory that the projections conjure.

Kyle Abraham

Kyle Abraham, professional dancer and choreographer, began his training at the Civic Light Opera Academy and the Creative and Performing Arts High School in Pittsburgh, Pennsylvania. He continued his dance studies in New York, receiving a BFA from SUNY Purchase and an MFA from NYU Tisch School of the Arts. Over the past few years, Abraham has received tremendous accolades and awards for his dancing and choreography including a 2010 Bessie Award for Outstanding Performance in Dance for his work in The Radio Show along with a 2010 Princess Grace Award for Choreography, a BUILD grant and an individual artist fellowship from the New York Foundation for the Arts, a Jerome Foundation Travel and Study Grant, a Pennsylvania Council for the Arts Fellowship and 2009 was honored as one of Dance Magazine’s 25 To Watch.

Abraham was heralded by OUT Magazine as one of the “best and brightest creative talent to emerge in New York City in the age of Obama.” His choreography has been presented throughout the United States and abroad, most recently at Jacob’s Pillow Dance Festival, Danspace Project, Dance Theater Workshop, Bates Dance Festival, Harlem Stage, Fall for Dance Festival at New York’s City Center, Montreal, Germany, Dublin’s Project Arts Center, The Okinawa Prefectural Museum & Art Museum located in Okinawa Japan and The Andy Warhol Museum in his hometown of Pittsburgh, PA. Abraham’s most recent work, The Corner, commissioned by Ailey 2, is currently touring internationally with great reception. As a performer, Abraham has worked with acclaimed modern dance companies including David Dorfman Dance, Burnt Sugar Dance Conduction Continuum, Nathan Trice/Rituals, Mimi Garrard Dance Theater, Bill T. Jones/Arnie Zane Dance Company, Dance Alloy, The Kevin Wynn Collection and Attack Theatre. In addition to performing and developing new works for his company, Abraham.In.Motion, Abraham also teaches his unique approach to post-modern dance in various schools and studios throughout the United States. For more information please visit: http://abrahaminmotion.org

Jack Ferver

Jack Ferver’s solo Two Alike, a collaboration with the visual artist Marc Swanson, was presented at Diverse Works in conjunction with The Contemporary Arts Museum of Houston in 2011 and will premiere in New York at the Kitchen this coming May 17th-19th. In 2011 Ferver also premiered his duet with Michelle Mola, Me, Michelle, at the Museum of Arts and Design as part of Performa 11. It returned as part of American Realness at Abrons Art Center. Ferver has been creating full-length works since 2007. He has been presented at PS 122 (NYC), The New Museum (NYC), The Museum of Arts and Design (NYC), Danspace Project (NYC), Abrons Art Center (NYC), Dixon Place (NYC), and Théâtre de Vanves in France. Shorter and solo works have been presented at MoMA PS1, Dance New Amsterdam, LaMaMa E.T.C., The Culture Project, and NP Gallery. His work has been written about in The New York Times, The Financial Times, The New Yorker, Artforum, Modern Painters, and Dance Magazine. His writing has been published in the magazine Novembre. He has curated for Danspace Project, Center for Performance Research, and Dance New Amsterdam. He teaches privately as well as at New York University and has set choreography at The Juilliard School.

Rebecca Lazier

Rebecca Lazier is the artistic director/choreographer of Terrain, a project-based NYC dance company and Senior Lecturer at Princeton University. Lazier and Terrain have performed in many New York venues including Danspace Project, The Kitchen, the Guggenheim Museum, 92nd Street Y, Joyce SoHo, and Movement Research at the Judson Church. In addition, Terrain has toured to a variety of locales from Martha’s Vineyard to Los Angeles, Jacob’s Pillow to New Orleans, from Nova Scotia, Canada to Perm, Russia. Lazier is currently preparing Terrain for a five city tour to Turkey and a three-week residency in Canada. Recently, Lazier has received grants for her choreographic research from the Canada Council on the Arts, NY Department of Cultural Affairs and the American Music Center. She has been artist-in-residence at Movement Research, The Joyce Theater Foundation, The Yard, and the Djerassi Resident Artist Program. Prior to teaching at Princeton, Lazier was on faculty at distinctly different institutions ranging from the Hartford Ballet to UCLA, from the State Conservatory of Turkey to Wesleyan University, and from American Repertory Ballet to White Mountain Summer Dance Festival. For more information please visit: www.terraindance.org

Luke Miller

Luke Miller, originally from Pittsburgh, Pennsylvania, began his dance training at the age of sixteen at Christine’s School of Dance and the Civic Light Opera Academy. Prior to his involvement with the performing arts, he studied visual art, music and swam competitively at his high school. Luke won the title of Mr. Dance of Pennsylvania 1997 for Dance Masters of America Chapter Ten. On scholarship, he then went on to receive his formal education at NYU’s Tisch School of the Arts.

He joined Susan Marshall & Company in 2003 and has since collaborated in the making of Sleeping Beauty and Other Stories, Cloudless, Sawdust Palace and Frame Dances. From the Company’s repertory he has performed Kiss, Arms and Fields of View. Luke has taught the Company’s work to students at Wittenberg University, the University of Wisconsin Steven’s Point, NYU’s Tisch School of the Arts, the University of Monatana, and the University of Wisconsin Madison. He has staged repertory on professional companies including; Dance Alloy, Hedwig Dances, Hubbard Street and Pacific Northwest Ballet. In ‘09 he contributed in the development and teaching of SUMAC (Systems for Understanding Movement And Composition), an annual one week workshop held at Barnard College that focuses on collaborative skill building within the art-form. Luke recently assisted Susan in choreographing Asphalt Orchestra for it’s run at Lincoln Center Out Of Doors festival in August of ’09 and acted as assistant choreographer in the making of For You, a solo created for Mikhail Baryshnikov in May of ’10.

In the play Madama Fortuna, written/directed by Antonio Rodriguez and presented by Dixon Place at Chasama, Luke portrayed the role of BunnyTeddy and choreographed the production. He co-directed and choreographed the play The Pet Goat with writer Brian Boyles at WAX and performed as Ron Reagan Jr. in Taylor Mac’s The Lily’s Revenge.

In film, he worked with David Neuman in the making of the WB production I Am Legend.

Luke received a 2009 Bessie Award for his collaboration and performance in Dark Horse/ Black Forest; a work choreographed by Yanira Castro.

He performed in the ADF ’07 reconstruction of Martha Clarke’s Garden of Earthly Delights and acted as assistant to the choreographer in its ’08 off-broadway restaging.

Luke has also performed in the work of Eun Me Ahn, Keely Garfield, Molissa Fenley, Stanley Love, David Dorfman, Fiona Marcotty, Julie Atlas Muz, Stephen Petronio, Christopher Williams, Amber Sloan, Paige Martin, Renee Archibald and currently in the companies of Yanira Castro and Neil Greenberg.

His own work has been shown at many venues throughout New York City including The Joyce SoHo, WAX, Galapagos, The Flea Theater, M Shanghai, 100 Grand, and The Roxy.

Jason Akira Somma

Jason is a practicing video/performance artist and photographer based in the NYC. Merging his two backgrounds as a visual artists and choreographer he has been experimenting on ways of transcending dance from the ephemeral state on stage to the walls of galleries. He specializes in integrating technology as an extension of the body for the physically impaired and elderly.

His film work has been featured on the Sundance Channel, Independent Film Channel, PBS, NY Dance Film Festival, MTV Europe, American Dance Festival, Dance Theatre Workshop (NYC), Seoul (Korea) Film Festival, SPEX Magazine (Germany), Cinedans Festival (Amsterdam) and in the Performatica Festival (Mexico). His photography and film work have also been featured in The Deitch Project (SoHo), P.S. 1 (MoMA), Robert Altman Gallery, Chrysler Museum of Art (Norfolk, Va.), and the Anderson Gallery (Richmond, Va.) His photography work has also been featured in numerous periodicals and magazines in the U.S. and Europe to include the New York Times, Dance Magazine, Dance Europe Magazine, Village Voice, Time Out NY, and LA Times to name a few. Jason has been commissioned by the BBC Bigscreens Moves festival in the UK and was a guest artist at the Center of Contemporary Art (CCA) in Glasgow as well as a guest artist at Robert Wilson’s Watermill Center. Somma was the first American to receive the Rolex Arts Initiative Award for Dance and has been working under the mentorship of Jiri Kylian over the past 4 years. He collaborated with Jiri Kylian on a dance piece commemorating the Nederlands Dans Theatre’s 50th anniversary and has since collaborated on two other projects. He has set work on the Lyon Opera Ballet, and collaborated with Robert Wilson by directing 5 short films that were shown at the Guggenheim Museum. When not performing or creating Jason has given numerous lectures internationally at universities funded via the US Embassy on “Arts and Science/Performance and New Technology.”

In March of 2011 Jason premiered the very first free floating interactive holograph film installation called the “Phosphene Variations” at the Chaillot National Theater of Paris to rave reviews. He has had the unique opportunity to be a guest consultant for the University of Glasgow in the Neuroscience department for a research study focusing on how the perception of movement affects brain imaging and transcranial magnet stimulation.

Vanessa Walters

Vanessa is the lead choreographer for the performance group, Fischerspooner. She has also choreographed music videos for Zola Jesus, AVAN LAVA, the Blank Dogs, Department of Eagles, Cyndi Lauper, Kings of Leon, Creep, and Nintendo, as well as live events for Mercedes Benz, Juicy Couture, House of Diehl, Daisy Spurs, Chaos & Candy, Narcissister, JVA, and the musical Camp Wanatachi, as well as her own works, BATHORY and The Man Piece. In 2011, Vanessa co-choreographed both “100 Beginnings” and “Alley of the Dolls” with Nicole Wolcott. For 2012, look forVanessa’s new piece entitled, “Ripening”. www.vanessawalters.com

]]>Miramarehttp://www.location1.org/miramare/
Thu, 12 Jan 2012 00:27:33 +0000http://www.location1.org/?p=1759Miramare is a short animated film by Michaela Müller. Followed by a panel discussion with Gregory Zinman, moderated by Claudia Calirman.
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Thursday, January 19, 2012 7pm
An animated film by Michaela Müller
Screening and panel discussion with Gregory Zinman
Moderated by Claudia Calirman

Miramare is an 8-minute animation produced at the Academy of Fine Arts, University of Zagreb. The film follows a Swiss family on a summer vacation to the Mediterranean seaside. Lushly painted frame-by-frame on glass, and with a soundtrack that dances beautifully with the flowing action of the scenes, Miramare appears to be a simple, if wonderfully poetic, meditation on summer sounds and images. However, Miramare is deceptively innocent: underneath the sumptuous scenes are complex issues with solutions that lie beyond borders and nations. Global issues like climate change, migration and xenophobia are subtly but skillfully addressed in this single family’s holiday trip.

Miramare had its international premiere at the Cannes Film Festival 2010 and has been shown at more than 100 Festivals since then. It has won 18 prizes, among them the Grand Prix of Animateka International Animation Festival Ljubljana, the Centaur for the Best Debut Film at Message to Man Film Festival in St. Petersburg, the Swiss Film Prize Quartz. In 2011 it was among the 30 films selected for the nomination of the European Cartoon d’Or Award. This panel will discuss the “painted moving image” and the way it constitutes a new hybrid genre crossing the boundaries between cinema and painting. This new expanded field addresses works of art that exist between the canvas and the celluloid. They are durational paintings done in time. How should these works be exhibited? Do they belong to art institutions or should they be inserted in the circuit of the film industry? We will discuss new ways to think about their exhibition display and the reception of this new medium.

Michaela Müller was born in St.Gallen, Switzerland. She lives and works in Croatia and in Switzerland. She graduated with an MA in Animation and New Media from the Art Academy Zagreb, Croatia (2009). She holds a diploma in Teaching Art from the Lucerne University of Applied Science in Switzerland. Ms. Müller’s residency is made possible by Pierre Nussbaumer and The Location One International Committee.

Gregory Zinman, PhD, is an Adjunct Professor in the department of Cinema Studies at New York University, where he recently defended his dissertation on handmade cinema. He is a curatorial consultant to the Smithsonian American Art Museum and the Yale University Art Gallery, and has written on film, art, and culture for The New Yorker, American Art, and the Guggenheim Museum online.

Claudia Calirman is the Chief-Curator at Location One.

ABOUT LOCATION ONE

Based in the Soho arts district of New York, Location One is an independent, non-profit organization dedicated to fostering new forms of creative expression and cultural exchange through exhibitions, residencies, performances, public lectures and workshops. Traditionally focused on technological experimentation and new media, Location One’s residencies and programs have favored social and political discourse and dialogue, and acted as a catalyst for collaborations. With a unique environment providing individualized training, support, and guidance to each artist, as well as exposure for their creations and collaborations, Location One continues to nurture the spirit of experimentation that it considers the cornerstone of its mission.

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]]>One and Manyhttp://www.location1.org/one-and-many/
Wed, 11 Jan 2012 17:00:12 +0000http://www.location1.org/?p=1709A group show featuring work by Monica Baptista, Hiraku Suzuki, Agnieszka Kurant, Jacob Dahl Jürgensen, David Molander, and Atsushi Kaga. These artists engage a variety of mediums, from digital film and photography to the traditional art of sewing, transforming one piece into many as they channel possible meta-narratives in their work.
]]>Still from Un Voyage by Jacob Dahl Jürgensen

One and Many
Curated by Claudia Calirman
January 11-February 15, 2012
Opening Reception-Tuesday, January 10, 6PM-8PM

Location One is proud to present One and Many, a group show featuring works by Monica Baptista, Jacob Dahl Jürgensen, Atsushi Kaga, Agnieszka Kurant, David Molander, and Hiraku Suzuki. These artists engage a variety of mediums, from digital film and photography to the traditional art of sewing, transforming one piece into many as they channel possible meta-narratives in their work.

Danish artist Jacob Dahl Jürgensen’s video Un Voyage recounts a failed attempt to shoot a 16mm film during a boat trip on the Baltic Sea in the winter of 2011. Departing from an anecdote about the doomed fate of the Jürgensen family’s watch-making company, which was founded in Denmark in the late eighteenth century, the artist’s video-essay unfolds as a meta-narrative of the story itself. Like the 16mm film, the video itself has been manipulated and also falls apart at key moments, threatening at any point to disintegrate entirely. This all coincides with the failure of the family’s business, which in turn ultimately refers to the fall of capitalism. A constant sense of breakdown unites the multiple layers, with form and content at once complementing and collapsing into each other.

Dublin-based, Japanese artist Atsushi Kaga presents Nerd Bag, a performance-based installation in which the artist and his mother will be sewing nerdy bags inside Location One’s gallery. For ten days—January 11 through 21—the artist and his mother will sew bags in front of the public. The project is inspired by his mortifying childhood experience of having to bring his mother’s hand-made bags to the school, while other kids had official plain bags (purchased in shops). Kaga often uses Japanese vernacular visual language to explore the complex search for personal and cultural identity and the social issues we face in daily life. The installation includes some sculptures of dying vegetables, which reminds him of his parents’ fate in the near future.

Polish artist Agnieszka Kurant is interested in changing status of objects and icons. Her film Empire (2011) is a remake of Andy Warhol’s 1964 movie of the same name, which comprises eight hours and five minutes of continuous, static footage of the Empire State Building. In Kurant’s version, a single stationary shot of the Palace of Culture and Science in Warsaw—an unwanted gift from Joseph Stalin to the people of Poland—replaces the Empire State Building. After the fall of communism, in 1989, this hated icon became both a tourist destination and a local symbol of cool. In 2000, four clocks were added to the top of the building, again changing its collective memory. For the filming of Kurant’s Empire, the clocks were set to run backwards for one hour. No information about this fact was announced until the end of the day, provoking all sorts of confusion among city dwellers.

Tokyo-based artist Hiraku Suzuki presents his ongoing project GENGA (001 – 1000), an investigation of the constantly expanding field of drawing. Suzuki’s practice includes installations, live drawing performances, films, frottages, and books. His method is analogous to the act of archeological excavation, in which mundane elements from everyday life—asphalt, earth, leaves, markers—are transformed into universal hieroglyphs that abstractly suggest a broader galaxy. Suzuki mixes ancient and new symbols to create a universal language, generating an ever-shifting puzzle of essential shapes, forms, and rhythms.

Swedish artist David Molander creates animated and painterly tableaus of urban centers from the pool of documentary materials that he collects in digital photography and film format. In his series Through Bridges, Molander constructs large-scale, kaleidoscopically multilayered views of the cityscape, capturing the urban landscape and transforming it in images that are both abstract and disorienting. He dissects and reassembles interiors, samples streetlights and stitches together pavement, fusing parts of the city that although closely linked, seldom meet. Residing in the space between document and fiction, Molander’s work reveals a patchwork of possibilities, emphasizing the complex relationship between architecture, living spaces, and social environment.

Visual artist and filmmaker Monica Baptista, from Portugal, presents the super8 film All Is for the Best in the Best of All Possible Worlds, a title taken from Voltaire’s satire Candide ou l’Optimisme. Shot in the 15 October 2011 in Times Square, when demonstrations were held promising a global revolution, drawing a line coming from the Arab Spring, the Spanish “Indignants”, the Greek Protests and finally the Occupy Movement. On this loop film, the revolution seems suspended in the repetition, evoking the collective euphoria and arrhythmia regarding the future. Her experimental films play out like fragmented collages, artists’ notebooks, from documental to fictional cinema, exploring the relationship between moving image and stills. This immersive work is a reflection on the phenomenology of perception and the relationship between representation and reality.

]]>The Well-Tempered Expositionhttp://www.location1.org/the-well-tempered-exposition/
Sat, 19 Nov 2011 00:00:36 +0000http://www.location1.org/?p=1641As part of Performa 11, artist Pablo Helguera presents the second chapter of his year-long project the Well-Tempered Exposition, a methodical investigation on the formal components of the performance art practice.
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Pablo Helguera
The Well-Tempered Exposition
Book I, part II
Friday, November 18, 7pm

As part of Performa 11, artist Pablo Helguera presents the second chapter of The Well-Tempered Exposition, a methodical investigation on the formal components of the performance art practice. The year-long project consists in the creation of 48 speech-based scores which will be performed as a result of a series of public experimental workshops in various cities. Upon its completion, the final aim of The Well-Tempered Exposition is to exist as a collection of scores addressing the rhetoric, contrapuntal and compositional structure of performance art as we understand it today.

The WTE is structured around the existing forms in Johann Sebastian Bach’s Well-Tempered Clavier (1722), a collection of keyboard exercises composed in all 24 major and minor keys, originally intended as a pedagogical textbook “for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study.” Today it is considered one of the foundational works of modern Western music. The WTE project seeks to retain Bach’s original pedagogical intent while also “translating” the complex compositional formulas of Bach’s work into correlational forms such as verbal counterpoint, contextual harmony, movement, and other elements.

Pablo Helguera is currently Senior Artist-in-Residence at Location One.

The project is supported in part by a fellowship of the Franklin Furnace Archive. Franklin Furnace wishes to acknowledge The SHS Foundation’s gift in honor of Ruth Hardinger for support of Pablo Helguera’s “The Well- Tempered Exposition: Book I” at Location One on Nov. 18th for Performa 11.

September 21, 2011 Prelude (project launch), Location OneNovember 18, 2011 Book I, part one, Location One (as part of Performa 2011-sponsored by Franklin Furnace)*February, 2012 Book I, part two, BerlinMay, 2012 Book I, part three, Havana Biennial, CubaJune, 2012 Book II part one, Mexico CitySeptember, 2012 Book II part two and final at Location One

*Franklin Furnace wishes to acknowledge The SHS Foundation’s gift in honor of Ruth Hardinger for support of Pablo Helguera’s “The Well-Tempered Exposition: Book I” at Location One on Nov. 18th for Performa 11.

Pablo Helguera
Born in Mexico City, 1971. Lives and works in New York Pablo Helguera (based in New York, born in Mexico City, 1971) works in the fields of pedagogy, literature, musical composition, and theater. His projects have included performance lectures, scripted symposia, and panel discussions with or without the knowledge of the audience, as well as a variety of experimental formats of verbal presentation. Helguera’s works have been presented in many venues such as the Liverpool Biennial, Performa 05, Museo Reina Sofia in Madrid, ICA in Boston, MoMA, among others. His play The Juvenal Players, produced by Grand Arts in Kansas City, was presented at The Kitchen in 2010. His orchestral work Endingness was performed by the Detroit Symphony Orchestra under the direction of Leonard Slatkin. He is the author of more than 10 books including Theatrum Anatomicum (and other performance lectures), a collection of performative works. His social practice project The School of Panamerican Unrest (2006) consisted in the creation of a nomadic schoolhouse that traveled by land throughout the Americas from Alaska to Chile, presenting collaborative performance and civic events in over 26 cities. He has been recipient of the Guggenheim Fellowship, the Creative Capital Grant; and in 2011 was named the first winner of the International Award for Participatory Art of the Regione Emilia Romagna in Italy. As educator, Helguera has worked in museums for over two decades, currently working as Director of Adult and Academic Programs at The Museum of Modern Art. He is the Pedagogical Curator of the 8th Mercosul Biennial, opening in September 2011.

Beatriz Helguera, pianist
Born in Mexico City and based in Chicago, Helguera studied with Maria Teresa Rodriguez, one of Mexico’s foremost pianists , at the National Conservatory of Music, and graduated obtaining the Concert Pianist Diploma. She also holds a Master Degree in Piano Performance from the Meadows School of the Arts at SMU (Southern Methodist University). She received the Meadows Outstanding Artistic Achievement Award and the Epstein B’nai Brith Award. With her husband, cellist Andrew Snow, she is the founder of the Chicago Pan-American Ensemble (http://www.chicagopanamericanensemble.com), a group that engages some of Chicago’s finest musicians and performs the traditional repertoire of trios, quartets and quintets with a blend of classical Latin American and American music. She has played as a soloist with the Fine Arts Chamber Orchestra (Orquesta de Cámara de Bellas Artes), State of Mexico Orchestra (Orquesta Sinfónica del Estado de México) and others. Her chamber music concerts include live performances for WFMT Radio in Chicago. She is part of the piano faculty at DePaul University.

Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs, and Location One’s International Committee for making this event possible.

Pablo Helguera
The Well-Tempered Exposition
Book I, part II
Friday, November 18, 7pm

As part of Performa 11, artist Pablo Helguera presents the second chapter of The Well-Tempered Exposition, a methodical investigation on the formal components of the performance art practice. The year-long project consists in the creation of 48 speech-based scores which will be performed as a result of a series of public experimental workshops in various cities. Upon its completion, the final aim of The Well-Tempered Exposition is to exist as a collection of scores addressing the rhetoric, contrapuntal and compositional structure of performance art as we understand it today.

The WTE is structured around the existing forms in Johann Sebastian Bach’s Well-Tempered Clavier (1722), a collection of keyboard exercises composed in all 24 major and minor keys, originally intended as a pedagogical textbook “for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study.” Today it is considered one of the foundational works of modern Western music. The WTE project seeks to retain Bach’s original pedagogical intent while also “translating” the complex compositional formulas of Bach’s work into correlational forms such as verbal counterpoint, contextual harmony, movement, and other elements.

Pablo Helguera is currently Senior Artist-in-Residence at Location One.

The project is supported in part by a fellowship of the Franklin Furnace Archive. Franklin Furnace wishes to acknowledge The SHS Foundation’s gift in honor of Ruth Hardinger for support of Pablo Helguera’s “The Well- Tempered Exposition: Book I” at Location One on Nov. 18th for Performa 11.

September 21, 2011 Prelude (project launch), Location OneNovember 18, 2011 Book I, part one, Location One (as part of Performa 2011-sponsored by Franklin Furnace)*February, 2012 Book I, part two, BerlinMay, 2012 Book I, part three, Havana Biennial, CubaJune, 2012 Book II part one, Mexico CitySeptember, 2012 Book II part two and final at Location One

*Franklin Furnace wishes to acknowledge The SHS Foundation’s gift in honor of Ruth Hardinger for support of Pablo Helguera’s “The Well-Tempered Exposition: Book I” at Location One on Nov. 18th for Performa 11.

Pablo Helguera
Born in Mexico City, 1971. Lives and works in New York Pablo Helguera (based in New York, born in Mexico City, 1971) works in the fields of pedagogy, literature, musical composition, and theater. His projects have included performance lectures, scripted symposia, and panel discussions with or without the knowledge of the audience, as well as a variety of experimental formats of verbal presentation. Helguera’s works have been presented in many venues such as the Liverpool Biennial, Performa 05, Museo Reina Sofia in Madrid, ICA in Boston, MoMA, among others. His play The Juvenal Players, produced by Grand Arts in Kansas City, was presented at The Kitchen in 2010. His orchestral work Endingness was performed by the Detroit Symphony Orchestra under the direction of Leonard Slatkin. He is the author of more than 10 books including Theatrum Anatomicum (and other performance lectures), a collection of performative works. His social practice project The School of Panamerican Unrest (2006) consisted in the creation of a nomadic schoolhouse that traveled by land throughout the Americas from Alaska to Chile, presenting collaborative performance and civic events in over 26 cities. He has been recipient of the Guggenheim Fellowship, the Creative Capital Grant; and in 2011 was named the first winner of the International Award for Participatory Art of the Regione Emilia Romagna in Italy. As educator, Helguera has worked in museums for over two decades, currently working as Director of Adult and Academic Programs at The Museum of Modern Art. He is the Pedagogical Curator of the 8th Mercosul Biennial, opening in September 2011.

Beatriz Helguera, pianist
Born in Mexico City and based in Chicago, Helguera studied with Maria Teresa Rodriguez, one of Mexico’s foremost pianists , at the National Conservatory of Music, and graduated obtaining the Concert Pianist Diploma. She also holds a Master Degree in Piano Performance from the Meadows School of the Arts at SMU (Southern Methodist University). She received the Meadows Outstanding Artistic Achievement Award and the Epstein B’nai Brith Award. With her husband, cellist Andrew Snow, she is the founder of the Chicago Pan-American Ensemble (http://www.chicagopanamericanensemble.com), a group that engages some of Chicago’s finest musicians and performs the traditional repertoire of trios, quartets and quintets with a blend of classical Latin American and American music. She has played as a soloist with the Fine Arts Chamber Orchestra (Orquesta de Cámara de Bellas Artes), State of Mexico Orchestra (Orquesta Sinfónica del Estado de México) and others. Her chamber music concerts include live performances for WFMT Radio in Chicago. She is part of the piano faculty at DePaul University.

Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs, and Location One’s International Committee for making this event possible.

Solo Exhibition and Live Performance by Lilibeth Cuenca Rasmussen
Curated by Jovana Stokic
October 29 – December 23, 2011
Opening Reception: October 29, 6-8pm
Live Performance at 7pm

A girl raised as a boy. A boy trained to act as a girl. A writer and activist in exile. Anauthoritative male. These are the four characters through whom Lilibeth Cuenca Rasmussen addresses the complexities of gender in cultures where men and women are segregated — and masculinity rules.

This is Afghan Hound, the performance Cuenca premiered to rave reviews at the 54th Venice Bienniale, and which now makes its New York premiere at Location One on October 29th,, along with an exhibition of photos and sculpture developed expressly for this exhibition.

Through photographs. sculpture, video, song, costume and performance, Cuenca explores the fragile structure of political hegemony and patriarchal domination. Her premise: When sexuality is repressed, new constructions of gender develop. The title refers both to the long-haired dog breed (the artist uses hair in extreme exaggeration throughout the work) and to Afghanistan (the male-dominated culture from which her characters are drawn).

The Afghan Hound performance includes four impersonations of voices from Afghanistan. The four stories that unfold are recounted through music and song. The choreography is contingent upon a costume made out of hair, metaphorically symbolizing different sexualities that are hidden in the particular context of contemporary Afghan culture.

The lyrics of the first song, for example, use quotes by the Afghan activist, writer and politician in exile, Malalai Joya; the second tells the tale of a Bacha Bazi (a young boy trained to act as a girl, who dances at men’s parties but is also a sex slave); the third character revolves around powerful male speech and masculine authority, and the last character, is a former Bacha Posh, a girl raised as a boy, when there are no sons in the family.

Cuenca purposely inhabits the role of an “impersonator.” The artist has stated: “My position as an artist and impersonator is to be a mouthpiece for repressed voices that I find urgent to unveil. The Western discourse on the Arabic World is often reduced to our positioning of them. I have tried to communicate stories seen from their tradition and culture, which in my opinion is important to try to understand, before we interfere or judge.”

Taking her own Danish-Filipino background as a point of departure, Cuenca universalizes cultural narratives in a critical and humorous approach to issues such as identity, religion, gender and social relations. Her productions involve choreographed songs and composed music with stylized costumes. The exhibition at Location One features performance documentation, as well as the new series of photographs developed along with the performance.

Lilibeth Cuenca Rasmussen, who last performed at Location One in 2009, was born in 1970 in Manila, Philippines, and now lives in Copenhagen, Denmark. A graduate from The Royal Danish Academy of Fine Arts Copenhagen, she primarily engages in video and performance art. Her productions involve scripted texts/songs; composed music as well as intricate visual elements that include set design and costumes. Lilibeth Cuenca has had solo exhibitions at the National Gallery of Denmark in Copenhagen, at the Gävle Konstcentrum in Gavle, Sweden in 2006 and at Heidelberger Kunstverein, Germany in 2010. She has participated in numerous exhibitions worldwide, including: Performa 09, New York City, The Thessaloniki Biennial of Contemporary Art, 2009 and The Tate Modern in London, 2009. In 2007 she was part of the exhibition Global Feminisms at the Brooklyn Museum in New York. She was included in the Bussan Biennial, South Korea, 2006, and the Rauma Balticum Biennial, Finland, 2006. A monograph of Lilibeth Cuenca Rasmussen’s works is published by Revolver Publishing, Berlin, including texts by André Lepecki, Bettina Knaup and Lars Bang Larsen. In 2011, she participated in the exhibition Speech Matters, The Danish Pavilion, at the 54th Venice Biennale.

Jovana Stokić is the curator of performance art at Location One where she supports the growth of performance art by promoting the works of emerging artists on an international scale, organizing and collaborating on events using a network of people converging at Location One. It shows a commitment to experimentation across all art forms and points to recent efforts to return performance art to its central position within the gallery system. Performances, public panels and discussions promote and seek critical discourses on contemporary performance art practice and related issues.

Special thanks to the Danish Arts Council and Location One’s International Committee for making this event possible.

About the Artists

Yanira CastroYanira Castro is a Bessie-Award-Winning director/choreographer based in Brooklyn who collaborates with performers and designers on individual projects under the name: a canary torsi. Her site-adaptable multi-disciplinary performance works have been presented nationally and internationally in a variety of venues from public bathrooms and a confessional to the stage. www.acanarytorsi.org

This project comes from my desire to bring my body closer to the viewer, to give my body another meaning, one outside of the world of dance. It also comes from a desire to fragment the perception of my body in movement, which here I will accomplish through the medium of instant photographs, a documentation that will change and distort the moment. By means of my body and lighting I will create non-linear narratives that allow the viewer to experience their own perceptions, their own narratives.

Andy JordanAndrew Jordan is a visual artist working in various media including sculpture, performance, fashion, costume design, and photography. He received his MFA with an emphasis in sculpture form the Cranbrook Academy of Art and his BFA in Fine Arts where he minored in Media Studies from the Columbus College of Art and Design. www.andytoad.com

Andrew Jordan’s performances at the Party of One event at Location One are excerpts from a new collaborative piece that he is developing called Eidolon. The piece includes the artists – Cori Olinghouse, Christopher Williams, Mike Andrews, and Derek Piotr.

Luke MillerLuke Miller has danced professionally over the past decade and recently became a certified yoga teacher through OM Yoga. With Quinndustry, he has been curating performance and collaborating on sculpting events. www.lukemillerdance.com

Edie NightcrawlerEdie Nightcrawler enjoys overpowering people with dance by night and by day.

David Quinn
David Quinn has been designing since early childhood. His first teacher was his mother. He
then studied costume design at the Interlochen Arts Academy. After which he attended the
Fashion Institute of Technology. His career since school has taken him in many directions…from the NYC club scene of the late ’80s and early ’90s to red carpets around the world. Quinn has designed for dance, theatre, circus, TV, and film. He’s a favorite of both brides and today’s burlesque stars. David Quinn now enters the world of ready-to-wear with his Spring/Summer 2012 collection. This collection focuses on Quinn’s unique talent for dresses that women love. Dresses that flatter all body types and work for any event-day to night. Quinn’s deft hand at mixing color, pattern, texture and shape are brought together to achieve sophisticated and chic options for
women of all ages.

Amber Sloane
Amber Sloan is a Brooklyn based dancer, choreographer and teacher. Her upcoming show is October 28 and 29 at 7:30pm and October 30th at 5pm at the Gowanus Arts Center as produced by Spoke the Hub http://www.spokethehub.org/events/haerfest-showcase/.

ABOUT LOCATION ONE

Based in the Soho arts district of New York, Location One is an independent, non-profit organization dedicated to fostering new forms of creative expression and cultural exchange through exhibitions, residencies, performances, public lectures and workshops. Traditionally focused on technological experimentation and new media, Location One’s residencies and programs have favored social and political discourse and dialogue, and acted as a catalyst for collaborations. With a unique environment providing individualized training, support, and guidance to each artist, as well as exposure for their creations and collaborations, Location One continues to nurture the spirit of experimentation that it considers the cornerstone of its mission.

PABLO HELGUERA TO REINTERPRET BACH’S MASTERPIECE INTO 24 WORKS AND WORKSHOPS OF PERFORMANCE ART

Renowned performance artist and scholar and Location One’s 2011-2012 Senior Artist-in-Residence, Pablo Helguera, will launch his most ambitious full-year project on September 21: The Well-Tempered Exposition, a series of 24 events in which he and changing groups of musicians, artists and performers wlll translate Johann Sebastian Bach’s legendary masterpiece into works of performance art.

The series, which begins September 21 at Location One, will visit multiple venues and involve scores of participants before its conclusion next summer, also at Location One.

The project will launch with a workshop of creative participants leading to a performance that includes performance of the focal “Clavier” pieces by concert pianist Beatriz Helguera before the performance. Exposition of the creative process behind the “translation” will be woven into the performance.

Bach’s Well-Tempered Clavier was written as a textbook for musicians to learn the form of the fugue in all major and minor keys of the piano”, says Helguera. “One can find correlations with the format of the fugue and speech because during Bach’s time there was a theoretical relationship between those two disciplines. Basing ourselves on that, we willl translate the Clavier into spoken events. As we do this, we hope to also develop a textbook of sorts for speech- based performance.

Each performance will be formed by original selections from the WTC along with their performative reinterpretation. Helguera’s past work has been characterized by strong views about the nature of creative expression and the interactions of art, culture and society, expressed vividly music, humor, visual image, debate and the full range of performative art forms.

September 21, 2011 Prelude (project launch), Location OneNovember 18, 2011 Book I, part one, Location One (as part of Performa 2011-sponsored by Franklin Furnace)*February, 2012 Book I, part two, BerlinMay, 2012 Book I, part three, Havana Biennial, CubaJune, 2012 Book II part one, Mexico CitySeptember, 2012 Book II part two and final at Location One

*Franklin Furnace wishes to acknowledge The SHS Foundation’s gift in honor of Ruth Hardinger for support of Pablo Helguera’s “The Well-Tempered Exposition: Book I” at Location One on Nov. 18th for Performa 11.

Pablo Helguera
Born in Mexico City, 1971. Lives and works in New York Pablo Helguera (based in New York, born in Mexico City, 1971) works in the fields of pedagogy, literature, musical composition, and theater. His projects have included performance lectures, scripted symposia, and panel discussions with or without the knowledge of the audience, as well as a variety of experimental formats of verbal presentation. Helguera’s works have been presented in many venues such as the Liverpool Biennial, Performa 05, Museo Reina Sofia in Madrid, ICA in Boston, MoMA, among others. His play The Juvenal Players, produced by Grand Arts in Kansas City, was presented at The Kitchen in 2010. His orchestral work Endingness was performed by the Detroit Symphony Orchestra under the direction of Leonard Slatkin. He is the author of more than 10 books including Theatrum Anatomicum (and other performance lectures), a collection of performative works. His social practice project The School of Panamerican Unrest (2006) consisted in the creation of a nomadic schoolhouse that traveled by land throughout the Americas from Alaska to Chile, presenting collaborative performance and civic events in over 26 cities. He has been recipient of the Guggenheim Fellowship, the Creative Capital Grant; and in 2011 was named the first winner of the International Award for Participatory Art of the Regione Emilia Romagna in Italy. As educator, Helguera has worked in museums for over two decades, currently working as Director of Adult and Academic Programs at The Museum of Modern Art. He is the Pedagogical Curator of the 8th Mercosul Biennial, opening in September 2011.

Beatriz Helguera, pianist
Born in Mexico City and based in Chicago, Helguera studied with Maria Teresa Rodriguez, one of Mexico’s foremost pianists , at the National Conservatory of Music, and graduated obtaining the Concert Pianist Diploma. She also holds a Master Degree in Piano Performance from the Meadows School of the Arts at SMU (Southern Methodist University). She received the Meadows Outstanding Artistic Achievement Award and the Epstein B’nai Brith Award. With her husband, cellist Andrew Snow, she is the founder of the Chicago Pan-American Ensemble (http://www.chicagopanamericanensemble.com), a group that engages some of Chicago’s finest musicians and performs the traditional repertoire of trios, quartets and quintets with a blend of classical Latin American and American music. She has played as a soloist with the Fine Arts Chamber Orchestra (Orquesta de Cámara de Bellas Artes), State of Mexico Orchestra (Orquesta Sinfónica del Estado de México) and others. Her chamber music concerts include live performances for WFMT Radio in Chicago. She is part of the piano faculty at DePaul University.

Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs, and Location One’s International Committee for making this event possible.

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Lucretiahttp://www.location1.org/lucretia/
Wed, 15 Jun 2011 00:00:11 +0000http://www.location1.org/?p=1687A performance/installation by artist/director Sophie Hunter. Based on fragments from the opera "The Rape of Lucretia" by Benjamin Britten, Hunter reimagines the myth as a multimedia performance with live opera, recorded video and music.
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Performances
Tuesday, June 14, 7 & 8pm
Thursday, June 16, 8pm

Sophie Hunter’s installation Lucretia is based on fragments of Benjamin Britten’s opera “The Rape of Lucretia” – specifically, the image of a group of women spinning at a loom as their husbands are off waging war.

The piece extracts various elements of the opera; the singers and orchestra, the narrative, and the operatic process itself, and deconstructs and examines them devoid of their original context.

These are then rewoven to record an altogether new sonic experience – a densely knitted soundscape incorporating elements of live singing, recorded instruments and mechanical noise. Parallels are drawn between the act of weaving and the recording or ordering of information. Single threads from the visual and sound worlds combine and resign their original identity to become bound to and part of each other – assimilated into new forms and patterns.

Lucretia centers around a room made of fishing wire, illuminated by naked light bulbs. Outside the room, several monitors are placed at varying heights. They reference the whirring and clicking of the loom, the sewing machine, cogs and connectors, the telephone switchboard, the spectrum of beeps and tones that provide the soundtrack to modern technology and women’s connection and interaction with them. The women in the space operate in infinite detail; they become agents of change and controllers of information.

Myth is populated with weavers, from Penelope to Philomela. In these stories and traditions, weaving is more than a domestic pastime; it becomes a means of expression, a metaphor for survival, power and faithfulness. Weaving in essence is a recording of information, a means to encode it, a system of memory and a system of creativity. In this installation, Lucretia’s looms are transferred from the domestic sphere and changed into monitors; exacting machines capable of decoding information. Instead of pictures woven in tapestries or yarn, these women weave in a digital visual form.

Sophie Hunter has assembled an international team of collaborators from the worlds of opera, film and theatre to create the piece.

Sophie Hunter studied at Oxford University and Jacques Lecoq, Paris. She has devised, developed, directed and performed in theatre and performance pieces throughout Europe as well as in the Middle East and New York.In 2007, she was awarded the prestigious Oxford Samuel Beckett Award for new voices in experimental theatre. Most recently, Sophie has been exploring new directorial and performative approaches to opera. Sophie has just collaborated on a production of Mozart’s Cosi fan tutte (performances in France and London). Forthcoming projects include Benjamin Britten’s The Rape Of Lucretia (New York) and Mozart’s The Magic Flute (Africa, with Vignette Productions) She recently directed a reimagining of Ibsen’s Ghosts, performed in New York in November, and is researching a large-scale multi-media performance based on the poetry of Sappho, in collaboration with the writer Maureen Duffy. Sophie is currently working with New York based company, Phantom Limb and will be directing their latest work, 69 DEGREES SOUTH which will premier at BAM Harvey Theatre in November 2011 Sophie Hunter’s residency is supported by the Location One International Committee.

June 14 – July 29, 2011

Curated by Claudia Calirman

OPENING RECEPTION:

Tuesday, June 14, 2011 6-8 PM

DATES: June 15 – July 29, 2011

HOURS: Tuesday – Saturday 12-6 PM

Location One is proud to present Sounds Good, featuring visual responses to a collaborative sound piece by artists John Aslanidis, Katy Dove, Phoebe Hui, Sophie Hunter, Miler Lagos, John O’Connell, Gonzalo Puch, and Zane Saunders. The pieces relate to movement, rhythm, vibration, energy, and the expanding visual field. The show opens on June 14 and will be on view until July 29.

Australian artist John Aslanidis’s monumental painting Sonic Network no.10 comprises four canvases that translate the vibrations of sound into a visual display. At first, the composition of colorful squares seems optically chaotic. This apparent chaos, however, is the result of a meticulously orchestrated, laborious process that recalls the madness of order. From far away his canvases look as if they are randomly composed, but as the viewer approaches it becomes clear that they are actually highly organized abstract geometric grids, with chance elements interspersed to interrupt the rigidity of his web.

Katy Dove’s work responds to the rhythm and movement from the collaborative sound track developed through group improvised music sessions. The human and textural qualities of the sound is echoed through repetitive mark making, the slowly drying action of the ink, and the geometric shapes that come from the hand’s movement. The resulting works—both on fabric and through the moving image–suggest a psychological state inherent in these processes. Based in Glasgow, Scotland, Dove is known for her animations that juxtapose bodily motions with abstract shapes, mixing the organic and the geometric.

Hong Kong–based artist Phoebe Hui took inspiration from a harmonograph—a musical instrument made of two pendulums suspended through holes in a table—for her interactive audiovisual installation Granular Graph II: The Tank and the Pendulum. In this work, Hui invites the viewer to become a living pendulum, swinging on the instrument’s ropes and giving rise to a mix of vibrational patterns and sounds. Hui’s experimentations with music and kinetics also led her to create Vexation – for K, an electronic musical instrument that plays the composition “Vexation” by French composer Erik Satie. The audience can play the instrument by rotating a compass, thus creating a variety of tones through the contact of different shades of pencil marks on the soundboard.

British theatre director Sophie Hunter’s installation Lucretia is based on a fragment of Benjamin Britten’s opera The Rape of Lucretia—specifically, the image of a group of women spinning at a loom as their husbands are off waging war. Hunter extracts various elements of the opera, such as the orchestra, the narrative, and the opera house itself, and deconstructs and examines them devoid of their original context. She then reassembles these elements to record an altogether new score—a densely collaged soundtrack made of both music and noise—drawing a parallel between the act of weaving and the recording or encoding of information and memory.

Colombian artist Miler Lagos reflects on the relationship between the natural and the artificial worlds. His five-minute video Attraction shows a heart-shaped red balloon plunging into the water. The impact of the fall is dramatically amplified, creating the effect of an exaggerated explosion. To create his sculpture Cimiento, Lagos began with a stack of seven thousand sheets of paper, each printed with an image of a woodcut by the Japanese artist Ottawa Hiroshige, and painstakingly carved it into the shape of a log. In Tree Rings Dating, four hundred identical pages from The New York Times come together in a mesmerizing three-dimensional collage—a spherical form with a transversal cut simulating the rings of a tree. The sculpture alludes both to the recording of the passage of time and to daily events, since it is made out of newspapers.

John O’Connell, a multimedia artist from Dublin, Ireland, is represented in the exhibition by a series of drawings evoking an intimate and dreamy environment. Built from a myriad of interrelated elements borrowed from his make-believe universe, the drawings straddle the line between real and fictional, process-based and result-oriented. To create these fantastical compositions, O’Connell begins with hand-constructed miniature set models that reproduce the imaginary landscapes of the artist’s poetic, whimsical, and lyrical universe.

Spanish artist Gonzalo Puch’s wall curtain juxtaposes disparate elements in unexpected and often funny tableaux, suggesting intricate narratives out of random elements. Plants, flowers, and pieces of food inhabit his curtain with photographs, sketches, and drawings, creating an open environment populated by the artist’s imagination. It is a world where chaos is not a threat, but a generative force inviting viewers to think outside of their comfort zone. Though Puch is interested in a variety of issues, including science, music, biology, and environmental studies, his art draws primarily on nature for both themes and materials.

Zane Saunders’s series of ceramic-fired clay wall sculptures are inspired by organic forms. His designs utilize a variety of waving shapes that recur in natural landscapes. Saunders was born in Cairns, North Queensland, Australia, where he still works today. He explores issues related to spirituality and the environment, often juxtaposing elements from nature and contemporary life. Through his use of raw and organic materials, he conveys a sense of the beauty and wonder lurking in the world all around us.

ABOUT LOCATION ONE

Based in the Soho arts district of New York, Location One is an independent, non-profit organization dedicated to fostering new forms of creative expression and cultural exchange through exhibitions, residencies, performances, public lectures and workshops. Traditionally focused on technological experimentation and new media, Location One’s residencies and programs have favored social and political discourse and dialogue, and acted as a catalyst for collaborations. With a unique environment providing individualized training, support, and guidance to each artist, as well as exposure for their creations and collaborations, Location One continues to nurture the spirit of experimentation that it considers the cornerstone of its mission.

]]>Color Me Clearhttp://www.location1.org/color-me-clear/
Fri, 27 May 2011 15:06:50 +0000http://www.location1.org/color-me-clear/Elana Katz is an American artist currently based in New York and Berlin. Formally a classical dancer, she now continues to work with the body, yet from a varied perspective, primarily in the medium of performance art.
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Elana Katz is an American artist currently based in New York and Berlin. Formally a classical dancer, she now continues to work with the body, yet from a varied perspective, primarily in the medium of performance art. Her work most often confronts cultural conventions– critically examining the complexity that lies within contradictions, as well as deconstructing symbols, customs, and ideals.

Elana Katz earned a BFA in photography from the Parsons School of Design, New York, in 2008, and a Meisterschüler (Germany’s MFA equivalent), from the Universität der
Kunst Berlin, in 2010. Her recent grants have included DAAD Graduate Studies Grant and Franklin Furnace Grant for Performance Art, and she has exhibited

performed in Germany, the USA, Russia, Italy, and Japan. In the Spring of 2010 she was selected by Marina Abramovic as a reperformer of Abramovic’s work at the MoMA (Museum of Modern Art) in New York, where she gave more than 200 performances over a 3-month
period.

]]>newARTtheatre 2http://www.location1.org/newarttheatre-2/
Thu, 21 Apr 2011 00:00:34 +0000http://www.location1.org/newarttheatre-2/A discussion of participatory theatre, the politics of theatre in the visual arts, theatre as process, community, virtuosity, the performance text, and the role of the body. The discussion, the second in a series moderated by Paul David Young, will be published in the special one hundredth issue of PAJ: A Journal of Performance and Art in February 2012.
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Location One presents newARTtheatre 2:

A conversation with playwright Paul David Young and artists Pablo Helguera, Ohad Meromi, and Xaviera Simmons
Wednesday, April 20, 2011
7pm, Free and open to the public

Pablo Helguera, Ohad Meromi, and Xaviera Simmons talk about their work and how, in different media and in performance, they draw upon and transform theatre for use in the visual arts context. They will discuss participatory theatre, the politics of theatre in the visual arts, theatre as process, community, virtuosity, the performance text, and the role of the body. The discussion, the second in a series moderated by Paul David Young, will be published in the special one hundredth issue of PAJ: A Journal of Performance and Art in February 2012.

Pablo Helguera (Mexico City, 1971) is a New York based artist working with installation, sculpture, photography, drawing, and performance. Most of Helguera’s projects explore the relationship between verbal and visual narratives, often relying on historical archives and oral history. In his “The School of Panamerican Unrest,” a nomadic think-tank traveled from Anchorage, Alaska to Tierra del Fuego. Helguera has exhibited or performed at MoMA in New York, Museo de Arte Reina Sofia, Madrid; ICA Boston; RCA London; 8th Havana Biennal, PERFORMA 05, Havana; Shedhalle, Zurich; MoMA P.S.1, New York; Brooklyn Museum; The Kitchen, NY, HAU, Berlin, The Kitchen in New York, Tokyo Metropolitan Art Museum, MALBA museum in Buenos Aires, Ex-Teresa in Mexico City. He received a Guggenheim Fellowship in 2008 and a Creative Capital Grant in 2005. In 2011 he won the International Award of Participatory Art of the Region Emilia-Romagna in Italy.

Born in Israel, Ohad Meromi currently lives and works in New York City. Meromi graduated from Bezalel Academy (1992) and went on to receive his MFA from Columbia University School of the Arts (2003). He has exhibited internationally and nationally at venues including The Israel Museum, Tel Aviv; Herzliya Museum of Contemporary Art, Israel; 2nd Moscow Biennale of Contemporary Art; Lyon Biennial, France; Martin Gropius Bau, Berlin; Magasin 3, Stockholm; De Appel Museum, Amsterdam; Sculpture Center, New York; and PS1 Contemporary Art Center, New York. Meromi has received numerous scholarships and awards including a Percent for Art commission (2009), the Fund for Video and Experimental film (2004), I.C. Excellence Foundation (2003), Nathan Gottesdiener Foundation Israeli Art Prize (1998). He was recently granted the Foundation for Contemporary Arts 2008 Grants to Artists Award.

Xaviera Simmons was born in New York City and lives and works in Williamsburg, Brooklyn. She produces photographic, audio, performative, sculptural, installation and video works. Xaviera received a BFA in photography from Bard College in 2004 after spending 2 years of walking pilgrimage retracing the Trans Atlantic Slave Trade with Buddhist Monks. She completed the Whitney Museum of American Art’s Independent Study Program in Studio Art (2005) and a two-year actor-training conservatory with The Maggie Flanigan Studio (2006). Major exhibitions and performances include The Museum of Modern Art (2011); Greater New York at MoMA PS1, (2010); The Studio Museum In Harlem (2010); Contemporary Arts Museum, Houston (2007); The Sculpture Center, New York (2009); Zacheta National Art Gallery, Warsaw, Poland; and Art in General, New York. Simmons has works currently On View at The Bronx Museum, NY, the ICA (Boston) and The Galleries of Ogilvy and Mather. She is in upcoming exhibitions at Nicole Klagsbrun Gallery, NY (April 2011) and at The Nouveau Musee National de Monaco (April 2011).

Paul David Young won the Kennedy Center’s 2009 Paula Vogel Playwriting Award. His work has been developed or produced at the Alliance Theatre, Kennedy Center, Kraine Theater, La Mama E.T.C., Lion Theatre on Theatre Row, Living Theatre, LMAK Projects, Marlborough Gallery, MOMA PS1, New York Theatre Workshop, Primary Stages, Philadelphia University of the Arts, Red Room, and, in Icelandic, at the Kaffileikhusid in Reykjavik, Iceland. In 2008, he co-curated with Franklin Evans the exhibition Perverted by Theater at apexart. He is a regular contributor to PAJ: A Journal of Performance and Art (MIT Press). In October 2010, he moderated the first newARTtheatre panel at apexart.

WHAT REMAINS
Thursday, March 24, 7 pm
free and open for public

Maria Jose Arjona explores possibilities of documenting live acts.

The artist states:
As we become documenting entities of everything happening around us, memory should be discussed not only in terms of technological capability but also in terms of human dependence and in-ability to retain information as a bodily function. My personal concern as a performance artist is how to document, archive and store, beyond images, an experience. Within the specifics of this project, “ an experience in the form of a story” constitutes the main material, which was collected via digital and virtual channels/ networks to later be re-stored in three external memories. What would happen if I could not access my computer? Do I have the ability to remember all the information gathered throughout a year of work? Is there another record? How can I transmit this information and now that is going to remain somewhere that doesn’t depend solely on technology, electricity or another mechanism?
The answer is simple: HUMAN MEMORY

Maria José Arjona is a performance artist focused on affirming the body through long durational exercises addressing process, time, memory and power. Her performances have been exhibited in Museums and galleries in South America, Europe, China and the Unites States and have been reviewed by Art Nexus, Arte Al Dia, The New York Times, The Guardian (UK), Whitewall Magazine, The Miami Herald, El Nuevo Herald and many others. She participated as a re-performer at Marina Abramovic’s retrospective at The Museum Of Modern Art in New York and started touring with her own work at The Madre Museum in Naples (Italy) as part of the program “Corpus, Arte In Azione”. The itineration of this project includes locations in Bologna (Italy), Bergen and Oslo (Norway), New York (US), Vienna (Austria) and will end in 2010 in Colombia as part of the National Salon sponsored by the Ministry of Culture of Colombia. VIRES, Arjona’s recent performance cycle will be exhibited for the first time in New York at LOCATION ONE. In 2010 Arjona performed VIRES, a long-durational performance, at Location One.

Location One presents XtraCurricular*, a collaboration between Location One and the Columbia University School of the Arts.

Thursday, 24 February 2011
Jill Magid

Shot from the Capitol Steps (A work in progress)

Co-Curated by Jovana Stokic and Daisy Nam
7pm FREE and open to the public

While on a research trip, Magid witnessed a mysterious shooting on the steps of the Texas State Capitol by Fausto Cardenas. Nothing is known of Cardenas’s motivations, but his gesture of shooting into the sky on the steps of the capitol, where he knew he would be immediately captured, reads symbolically as both tragic and poetic. Magid connects his action to Faust, an obvious but ultimately fruitful and complex avenue of exploration, as Goethe’s nineteenth-century drama traffics in similar themes of tragedy, psychology, and futility.

Goethe originally wrote Faust as a ‘closet drama’: a drama to be read alone or to a small group, rather than performed on stage. For the event at Location One, Magid experiments with the concept of “theatre of the mind” by inviting the audience for an intimate closet drama reading.

Jill Magid’s event at Location One is part of a work-in-progress. The artist takes this program up on its idea of a safe place to try out something new and unfinished, and rough. This will not be a complete drama from beginning to end! Jill Magid seeks intimate relations with impersonal structures. She is intrigued by hidden information, being public as a condition for existence, and intimacy in relation to power and observation. Magid holds a M.F.A from Cornell University, and an M.S in Visual Studies from the Massachusetts Institute of Technology. She has shown nationally and internationally, with solo exhibitions at the Whitney Museum of American Art; Tate Modern, London; Stedelijk Museum Bureau Amsterdam; and Gagosian Gallery, NY. Upcoming exhibitions include the Singapore Biennial, and the Matrix Program at Berkeley Art Museum, CA. Magid is represented by Yvon Lambert, New York and Paris. She lives and works in Brooklyn, NY.

Jill Magid received her BFA from Cornell University in Ithaca, New York, in 1995 then her MS in Visual Studies from MIT. She was Artist in Residence at the Rijksakademie van Beeldende Kunsten, Amsterdam, Netherlands from 2001-2002 where she lived for five years, and with Eyebeam, New York, NY from 2006 – 2007. In addition to an upcoming solo show at the Tate Modern, London, she has had shown at the Yvon Lambert galleries in New York and Paris, Gagosian gallery, New York, and The Hague, Netherlands. Her performances and installations have been shown worldwide in numerous group shows and fairs.

Jill Magid’s work explores means of penetrating closed systems of power. Taking institutional structures, rules, laws, and language as her media, Magid has developed a conceptually rigorous, largely performance-based practice in which she seeks to engage institutions of power on a personal, intimate level. Developed for the Whitney Museum’s first-floor Anne & Joel Ehrenkranz Gallery, Magid’s A Reasonable Man in a Box takes its point of departure from the “Bybee Memo,” a controversial 2002 document signed by Jay Bybee, Assistant Attorney General of the United States Department of Justice’s Office of Legal Counsel, and declassified by President Obama in 2009. The document discusses acceptable methods of “enhanced interrogation” of a high-level Al Qaeda operative, including the use of a confinement box. As Whitney curatorial assistant Nicole Cosgrove writes in the introductory text, “A Reasonable Man in a Box explores the perversion of reason, and the malleability of language and law. Using video, collage, and text, Magid transforms an international and political issue into a physical and intensely personal experience.

The Performance Program at Location OneThe Abramović Studio is a space within Location One dedicated to the ongoing performance series of long-durational works focusing on open-ended forms of workshops, panels and discussions. All programs are curated by Jovana Stokić.

*XtraCurricular Series In Spring 2011, five artists and thinkers are invited to curate five nights, using the Location One space for an evening of play and extracurricular events. Co-curated by Jovana Stokic and Daisy Nam.

Coming from a very strong visual arts background, Zane continues exploring and investigating new visual expression. While continuing his broad traditional visual arts output, in painting and printmaking, Zane has courageously explored diverse and challenging mediums of installation, sculpture, media and contemporary performance.

This relatively recent performance work has provided a unique medium to take his prolific visual practice ‘off the
wall’, and into the peoples space. Over the past three years, Zane has developed a very deep and unique approach to contemporary dance/performance, drawing from his indigenous cultural heritage, and from the many experiences of contemporary society.

Importantly, this new work is placed in many diverse settings and contexts, each work site specific, and both visually stunning and challenging, for audiences.

“Performance is a vehicle for the spirit to connect to audience”: modern devices/costume are utilized to convey the message; site specific work devised to site location; use of formal and informal spaces, emphasis on the absurdity of contemporary ‘western’ norms.

Zane also has an ongoing collaboration with sound and media artist File_Error, and this partnership allows Zane to explore video, media and performance in a more defined context. In 2007, the 2 artists collaborated and self produced the installation, performance and media event, “Being A Medium” over 3 nights at the JUTE Theatre in Cairns.

Zane’s visual arts work is in many collections, including the National Gallery of Australia, and the National Gallery of Victoria. Recent performance practice is numerous across festivals such as On Edge in Cairns, to exhibition openings and community events such as NAIDOC week in his hometown, Kuranda.

His most recent projects include “Parcel”, a discreet installation and performance at Mofo Gallery, and a short performance work as part of Submerge.

Zane will be performing at a number of events as part of the On Edge contemporary media + performance festival in Cairns in July 2009, including his new major performance work, “Blueprint”. (www.onedgeart.com)

GIVING MY BACK
TO THE NIGHT
I HEARD YOU LYING TO A GIANT

First Giant
Solo Exhibition and Live Performance
Curated by Jovana Stokic
Through the myth of Ulysses blinding the cyclopes Polyphemus, Davide Balliano begins his representation of the five phases of sleep
by enacting the ancestral fight against the obscure void that blinds us every night.

Live Performance by
Davide Balliano GIVING MY BACK TO THE NIGHT I HEARD YOU LYING TO A GIANT
First Giant
MARCH 3, 6- 9 pm MARCH 4 6- 9 pm MARCH 5 5- 8 pm

Location One is pleased to present Davide Balliano’s first solo show in New York and has commissioned a new installation from the artist for the occasion.

In the exhibition “Giving My Back to the Night I Heard You Lying to a Giant (First Giant)” Davide Balliano uses the myth of Ulysses blinding the Cyclops Polyphemus as a starting point for his representation of the five phases of sleep which he calls the “ancestral fight against the obscure void that blinds us every night”. Through dark and poetic combinations of performance, objects, drawings, and installation, Balliano explores his ongoing interest in the human mind and its fragile structures and contradictions.

Balliano’s exhibition and performance, conceived as a first act of a five-act cycle, symbolizes the first phase of sleep through the figure of a mythological Giant. In the Indo-European ancient tradition, the Giants symbolized the origin of life, the primal chaos that Gods had to fight with, in order to maintain the order of life. Specifically, in Greek mythology, a Giant pointed to a communion between reality and supernatural. In the Odyssey, Ulysses had to blind Polyphemus during his sleep, in order to set himself and his crew free from the cave where the Giant had imprisoned them. This metaphor of blinding, closing the eyes, as a beginning as a new start is the main punctum of this first act. The artist asks: “What is sleep if not a middle point between conscious and unconscious, between light and dark, between life and death?” The exhibition thus becomes an allegorical interpretation of the myth of blinding as an act to regain freedom. The gallery space of Location One, transformed in the cave of Polyphemus, is inhabited by strange protagonists: Ulysses and his crew embodied in abstract wooden objects and appropriated renaissance images. The ritual of blinding that leads to freedom is represented obliquely and frozen in time. The exhibition space relates to the map of vision itself and refers to the crucial mechanism of seeing: a play between two- and three-dimensional perception. These elements the artist deploys in both his installation and performance.

As a special addition to the exhibition, Balliano will perform live on three dates in March.

Born in Turin, Italy in 1983, Davide Balliano has presented his work internationally, including the Kitakyushu Biennial (Japan) and the Vienna Biennale (Austria), and is featured in the permanent collection of the Museum of Contemporary Photography of Cinisello Balsamo (Milan). Other exhibitions include Artist Space and PS1 Contemporary Art Center in New York, The Watermill Center in South Hamptons, Plymouth Art Center in Great Britain. His portfolio has been recently exhibited in the Archive of Via Farini for the event “No Souls For Sale” at the Tate Modern Gallery in London. He is one of the winners of the AOL 25 for 25 Award 2010. Balliano lives and works in New York.
Website: http://www.davideballiano.com

Jovana Stokić is the curator of performance art at Location One where, in Marina Abramovic Studio, she supports the growth of performance art by promoting the works of emerging artists on the international scale, organizing and collaborating on events using a network of people converging at Location One. It shows the commitment to experimentation across all art forms and points to recent efforts to return performance art to its central position within the gallery system. Performances, public panels and discussions promote and seek critical discourses on contemporary performance art practice and related issues.

She has devised, developed, directed and performed in theatre and performance pieces throughout Europe as well as in the Middle East and New York.In 2007, she was awarded the prestigious Oxford Samuel Beckett Award for new voices in experimental theatre.

Most recently, Sophie has been exploring new directorial and performative approaches to opera. Sophie has just collaborated on a production of Mozart’s Cosi fan tutte (performances in France and London). Forthcoming projects include Benjamin Britten’s The Rape Of Lucretia (New York), Janacek’s The Cunning Little Vixen (Italy), Mozart’s The Magic Flute (African tour), and Beethoven’s Fidelio (Palestine).

She recently produced a reimagining of Ibsen’s Ghosts, performed in New York in November, and researching a large-scale multi-media performance based on the poetry of Sappho, in collaboration with the writer Maureen Duffy.

Sophie Hunter’s residency is supported by the Location One International Committee.

Davide Balliano was born in Turin, Italy in 1983. In this city he began his studies and earned a Bachelor in Graphic Arts. In 2002 he moved to Milan where he earned a second degree in Photography at the c.f.p Riccardo Bauer, and worked as artist.

From June 2004 to June 2005, Balliano was a resident in Fabrica, artist’s residence of Benetton group. Through an unemotional and minimal use of different media ( performance, drawing, installation, video and photography ), his artistic research allows him to delve deeply into the most hidden aspects of the human mind, revealing their fragile structures and contradictions. Balliano’s works and performances were shown at The Artists Space and PS1 Contemporary Art Center in New York, The Watermill Center in South Hamptons, Plymouth Art Center in Great Britain, as well as in New Zeland, Japan and all across Europe.

His portfolio has been recently exhibited in the Archive of Via Farini in the context of the event “NO SOULS FOR SALE” at the Tate Modern Gallery in London. He’s one of the winners of the AOL 25 for 25 Award 2010. Balliano lives and works in New York.

http://www.davideballiano.com/

]]>Benefit in Support of Abramović Studio Performance Program at Location Onehttp://www.location1.org/abramovic-studio-benefit/
Tue, 26 Oct 2010 20:13:50 +0000http://www.location1.org/abramovic-studio-benefit/You are cordially invited to attend the inaugural benefit in support of The Marina Abramović Studio and Performance Program at Location One. We hope you can join us for an evening dedicated to the celebration of great performance art.]]>

MONDAY, NOVEMBER 1, 2010
You are cordially invited to attend the inaugural benefit in support of The Marina Abramović Studio and Performance Program at Location One. We hope you can join us for an evening dedicated to the celebration of great performance art.

PERFORMANCES, AUCTION AND PREVIEW
of Zina Saro-Wiwa’s exhibition Sharon Stone in Abuja. Performances by Maria José Arjona and Marta Jovanović Bosi. Silent auction with works by Marina Abranović, Terence Koh, Joan Jonas, Guerilla Girls, Carolee Schneemann and more. Private dinner with Marina at the home of Claire Montgomery and James MacGregor. See works in Silent Auction here >>

Political, social and economic forces have been molding society from the origin of Western civilization to the present day. History has forced more complex and subtle structures from which institutions, individuals or complete societies often dominate others as a form of control. Within domination and control a great amount of new articulations arise, as the body being controlled must translate the latest structure imposed upon it in order to understand and function within the new regime. VIRES is a cycle of six performances analyzing and addressing diverse systems of power but most of all, addressing CHOICE as the most relevant exercise of freedom.

Maria José Arjona is a performance artist focused on affirming the body through long durational exercises addressing process, time, memory and power. Her performances have been exhibited in Museums and galleries in South America, Europe, China and the Unites States and have been reviewed by Art Nexus, Arte Al Dia, The New York Times, The Guardian (UK), Whitewall Magazine, The Miami Herald, El Nuevo Herald and many others. She participated as a re-performer at Marina Abramovic’s retrospective at The Museum Of Modern Art in New York and started touring with her own work at The Madre Museum in Naples (Italy) as part of the program “Corpus, Arte In Azione”. The itineration of this project includes locations in Bologna (Italy), Bergen and Oslo (Norway), New York (US), Vienna (Austria) and will end in 2010 in Colombia as part of the National Salon sponsored by the Ministry of Culture of Colombia. VIRES, Arjona’s recent performance cycle will be exhibited for the first time in New York at LOCATION ONE.

curated by Jovana Stokic

Zeichenzentrifuge | Drawing Centrifuge

The ABRAMOVIC STUDIO at Location one presentsHannes Malte Mahler with the drawing performance: Drawing Centrifuge.The Mahler draws according to your wishes. You can keep the drawing.

Instructions:
a) Write your wish on the drawing paper. Add your name and address.
b) Mahler draws.
c) Receive your drawing and glue it on the wall (Attended by the cheerleaders).
d) The result drawings fill the space.
e) One day later you can collect your drawing.

Art is the only serious thing in the world.And the artist is the only person who is never serious.–Oscar Wilde

For the artist, the life drawing idea is around for about 10 years, starting from a part within a broader installation of a studio with him performing in it as an artist. Since then it has undergone several changes and now the centrifuge idea is the one that he is interested in – meaning a more or less simple set-up in which the artist sits and the audience watches: one orders ‘something’ and I draw it – meaning people witness the actual process of creation. Source and inspiration is the artist’s personal practice as he usually draws wherever he is and therefore it was a somewhat logical step to draw on demand. As he also creates ‘real’ paintings / drawings / photography, this special set up just plays with the role of the ‘Mahler’ ( ‘painter’ in English) — it does not counteract but reinforce and vitalize this figure.

Hannes Malte Mahler is simultaneously a draughtsman and a painter, a photographer and a performance artist. His diverse artistic activities unite the common resolve to examine ideas and attitudes as well as the status quo of the world and reality in terms of its validity and load-bearing capacity. His tools on this path are jokes, satire, irony, and the energy to develop new points of view and meanings with their help. The provocative features of his art are in the tradition of the épater le bourgeois where the artist assumes the role of the enfant terrible and, like the Dada artists of the early twentieth century as well as the Fluxus artists fifty years later, becomes a propagandist for the reassessment of much-loved values and non-values. The quality of his performances in which he fulfills the public’s all and sundry painting wishes (“Dear Painter, Paint Me…”) has a deeper meaning because in the process he questions the absurd modern notion of the artist which says that only the artist who commissions himself can be a “pure and good” artist.

Although he commissioned himself to produce the exhibited drawings, they nevertheless owe nothing to a purposeless exercise in art. They were neither made in art’s ivory tower, nor do they want to be affectless. (M. Stoeber)

About the artist: Hannes Malte Mahler, born 1968 lives and works in Hannover, Germany. He is a graduate of the Braunschweig school of arts and a postgraduate of Marina Abramovic. Though performance is the key issue in Mahler’s work, all kinds of media can be found if they suit the intended purpose. (like installation, photography, painting and son on and so forth) For further information and an inspirational stroll through the mahler’s worlds you are cordially invited to visit http://www.theMahler.com

Location One is proud to present “The Present Doesn’t Exist in My Mind, and the Future is Already Far Behind,” a one-woman performance piece by Lilibeth Cuenca Rasmussen. Conceived as a collaboration with composers Pete Drungle and Brian Bender, motion graphic artist Brian Close, and costume designer Lise Klitten.Performance artist Lilibeth Cuenca Rasmussen was inspired by the writings of feminist mavericks Valentine de Saint Point and Mina Loy that reflect on visions of female sexuality and the subjugation of women. Her productions involve scripted texts/songs; composed music as well as intricate visual elements that include set design and costumes.Lilibeth Cuenca represents here a specific persona: a strong woman with attitude, and who serves her point of view in a direct way, “a woman who is proud of being a woman.“ Hers is an inclusive feminist stance that is aware of post-feminist traps. The artists evokes basic categories of the body (as nature), and the architecture (as culture), as male/female symbols.The artist’s body is trying to fit within and at the same time it is struggling with the laws and structure of geometry and architecture. Depending on the movements and choreography of the body, basic, geometric costume can transform into multiple formations as basic geometrical shapes: cylinder, circle, square, and rectangle. The inner layer is a “bodysuit”, only revealing the face, hands and feet. When the “geometric” is taken off, the motion graphics of architectural structures –”Virtual Costumes” — take over by surrounding and enclosing the body in lines and grids. The female body is integrated with architecture by projecting motion graphics onto a solid white body form. Like a snail house or a turtle, the artist carries her space around — a mobile, dynamic and flexible architecture. By this performative imagining, the artist contests the fact that architecture is predominantly a masculine endeavor.Lilibeth Cuenca Rasmussen (b.1970 in Manila) lives in Copenhagen, Denmark. Works primarily with video and performances. With consummate style and an almost voracious curiosity, she navigates the interspaces between different kinds of realities and extremes. Between the perfect staging of music videos and the raw reality of documentaries. Between personal confessionals and political commitment. Taking her own Danish-Filipino background as her point of departure, the artist displays a keenly honed sensitivity, almost like that of an anthropologist, to the narratives that exist in and between a place of birth and home country. She gathers, adapts, and universalisms these narratives in her both critical and humorous approach to central issues such as identity, gender, and social relations. Lilibeth Cuenca Rasmussen is a graduate from The Royal Danish Academy of Fine Arts (1996-2002). She has contributed to a wide range of exhibitions in Denmark and abroad. Her work has been presented internationally at institutions such as U-Turn Quadriennial, Copenhagen; Brooklyn Museum, New York; Malmö Kunst Museum, Sweden; and the Museum of Contemporary Art, Seoul, South Korea, PERFORMA 09, New York.

A Performance by Lilibeth Cuenca RasmussenThursday, March 4th, 2010 at 7 pm.This incarnation of the multi-media performance is curated by Jovana Stokić.

]]>A Performance by Lilibeth Cuenca RasmussenThursday, March 4th, 2010 at 7 pm.This incarnation of the multi-media performance is curated by Jovana Stokić.

Location One is proud to present “The Present Doesn’t Exist in My Mind, and the Future is Already Far Behind,” a one-woman performance piece by Lilibeth Cuenca Rasmussen. Conceived as a collaboration with composers Pete Drungle and Brian Bender, motion graphic artist Brian Close, and costume designer Lise Klitten.Performance artist Lilibeth Cuenca Rasmussen was inspired by the writings of feminist mavericks Valentine de Saint Point and Mina Loy that reflect on visions of female sexuality and the subjugation of women. Her productions involve scripted texts/songs; composed music as well as intricate visual elements that include set design and costumes.Lilibeth Cuenca represents here a specific persona: a strong woman with attitude, and who serves her point of view in a direct way, “a woman who is proud of being a woman.“ Hers is an inclusive feminist stance that is aware of post-feminist traps. The artists evokes basic categories of the body (as nature), and the architecture (as culture), as male/female symbols.The artist’s body is trying to fit within and at the same time it is struggling with the laws and structure of geometry and architecture. Depending on the movements and choreography of the body, basic, geometric costume can transform into multiple formations as basic geometrical shapes: cylinder, circle, square, and rectangle. The inner layer is a “bodysuit”, only revealing the face, hands and feet. When the “geometric” is taken off, the motion graphics of architectural structures –”Virtual Costumes” — take over by surrounding and enclosing the body in lines and grids. The female body is integrated with architecture by projecting motion graphics onto a solid white body form. Like a snail house or a turtle, the artist carries her space around — a mobile, dynamic and flexible architecture. By this performative imagining, the artist contests the fact that architecture is predominantly a masculine endeavor.Lilibeth Cuenca Rasmussen (b.1970 in Manila) lives in Copenhagen, Denmark. Works primarily with video and performances. With consummate style and an almost voracious curiosity, she navigates the interspaces between different kinds of realities and extremes. Between the perfect staging of music videos and the raw reality of documentaries. Between personal confessionals and political commitment. Taking her own Danish-Filipino background as her point of departure, the artist displays a keenly honed sensitivity, almost like that of an anthropologist, to the narratives that exist in and between a place of birth and home country. She gathers, adapts, and universalisms these narratives in her both critical and humorous approach to central issues such as identity, gender, and social relations. Lilibeth Cuenca Rasmussen is a graduate from The Royal Danish Academy of Fine Arts (1996-2002). She has contributed to a wide range of exhibitions in Denmark and abroad. Her work has been presented internationally at institutions such as U-Turn Quadriennial, Copenhagen; Brooklyn Museum, New York; Malmö Kunst Museum, Sweden; and the Museum of Contemporary Art, Seoul, South Korea, PERFORMA 09, New York.

Curator of Location One’s Abramović Studio, Jovana Stokić will speak with artist Ragnar Kjartansson about his current and past work, focusing on his performative works. The artist grew up to become, among other things, a pop star in his native Iceland, with his band Trabant. He is also recognized as an artist from performances such as The Opera (his 2001 graduation piece from the Academy of Arts in Reykjavík, in which he created a Rococo theatre in a small room and performed for ten days straight), Death and the Children (2002) or The Great Unrest (2005), in which he dressed as a Viking and sang the blues for an entire week in an abandoned theatre in the countryside. Artist will talk about his experience of his six-month long performance at the Pavilion of Iceland at 53rd Venice Biennale, 2009.

The evening is a part of activities of Abramović Studio at LOCATION ONE. Beginning October 2009 the studio, curated by Jovana Stokić, involves artists from Location One residency program in engaging with performance art. The ABRAMOVIĆ STUDIO within Location One is dedicated to exploring long-durational performance works through open-ended forms of workshops, panels and discussions. Marina Abramović is the subject of a major retrospective exhibition at MoMA in March 2010 titled “Artist is Present” in which she will be performing continuously throughout the whole duration of the exhibition.
The talk is free and open to the public.

Ragnar Kjartansson (b. 1976, Reykjavík, Iceland) conjures up emotions in his work that he can pass on to his viewers, with a keen eye for the tragicomic spectacle of human experience where sorrow collides with happiness, horror with beauty, and drama with humor. In his versatile artistic career, he has focused on video, painting, and drawing, with performance at the heart of his practice. Both of Kjartansson’s parents are actors, and acting, repetition, and identity are ever-recurring themes in his work. He has taken on countless roles in his performances, combining his own personality with personas from cultural history. His work incorporates a mélange of show business icons and nostalgic imagery from bygone eras of theater, television, music, and art, allowing him to blur the border between life and art, reality and fiction, and to create bold statements that strike chords with his audiences. Kjartansson graduated from the Iceland Academy of the Arts in 2001, and is the youngest artist ever to represent Iceland at the International Art Exhibition – La Biennale di Venezia in 2009. He has built an impressive roster of international exhibitions, including several major solo shows in museums, galleries, and art festivals in the last few years. He is representative of the vibrant young art scene in Iceland and has formed an engaging individual style that has
drawn the attention of the international art world. Kjartansson is represented by i8 Gallery in Iceland and Luhring Augustine in the United States.

Belgrade-born, New York-based art historian and critic Jovana Stokić holds a Ph.D from the Institute of Fine Arts at the New York University. Her dissertation, titled “The Body Beautiful: Feminine Self-Representations 1970 – 2007,” analyzes works of several women artists — Marina Abramovic, Martha Rosler, Joan Jonas — since the 1970s, particularly focusing on the notions of self-representation and beauty. Jovana has been writing art criticism for several years, and has curated several thematic exhibitions and performance events in the US, Italy, Spain and Serbia. Jovana was a fellow at the New Museum of Contemporary Art, New York, a researcher at the Whitney Museum of American Art, New York, and the curator of the Kimmel Center Galleries, New York University. She has most recently written an essay for Marina Abramović’s MoMA exhibition catalogue.

Curator of Location One’s Abramović Studio, Jovana Stokić will speak with artist Ragnar Kjartansson about his current and past work, focusing on his performative works. The artist grew up to become, among other things, a pop star in his native Iceland, with his band Trabant. He is also recognized as an artist from performances such as The Opera (his 2001 graduation piece from the Academy of Arts in Reykjavík, in which he created a Rococo theatre in a small room and performed for ten days straight), Death and the Children (2002) or The Great Unrest (2005), in which he dressed as a Viking and sang the blues for an entire week in an abandoned theatre in the countryside. Artist will talk about his experience of his six-month long performance at the Pavilion of Iceland at 53rd Venice Biennale, 2009.

The Marina Abramović Studio is a space within Location One dedicated to the ongoing performance series of long-durational works focusing on open-ended forms of workshops, panels and discussions. It includes resident artists at the Location One as well as a larger community of artists and thinkers interested in the development of performance art as practiced by the pioneer of performance art Marina Abramovic for almost four decades. “The laboratory approach” of the Marina Abramović Studio has the goal of supporting the growth of performance art by promoting the works of emerging artists on an international scale, organizing and collaborating on events using a network of people converging at Location One. It shows the commitment to experimentation across all art forms and points to recent efforts to return performance art to its central position within the gallery system. Starting in the Fall of 2009, the ongoing performance workshops will occasionally be opened to the public in the form of live art exhibitions. In addition, public panels and discussions will promote and seek critical discourses on contemporary performance art practice and related issues. The first event open to the public at Location One presented Abramović’s dynamic vision for this specific institution. All programs are curated by Jovana Stokić.

October 27, 2009 Marina Abramović: Performing the Gallery/Performing the Museum The discussion focused on Abramović’s investigations of the transformative quality of time in context of a gallery exhibition. The talk included exclusive video material from Abramovic’s innovative group exhibition in Manchester Whitworth Art Gallery, held July 3 – 19 2009. For this groundbreaking event, the Whitworth emptied every gallery space in order to create room for this unique work to develop and breathe. The show began with an hour-long performance initiation with Marina Abramović, leading up to a series of extraordinary encounters between artists and audience. Quite unlike anything staged before in a museum or a gallery, it provided a transformative gallery-going experience. more >>

Friday, November 7, 2009
Nikhil Chopra

Nikhil Chopra’s work has been included in “Indian Highway” at the Serpentine Gallery (2008–09), “Making Worlds” at the 53rd Venice Biennale (2009), and “Marina Abramovic Presents,” the Manchester International Festival (2009). His most recent performane “Yog Raj Chitrakar: Memory Drawing IX” in the New Museum for Contemporary Art was part of Performa 09 Biennial in New York City. He lives and works in Mumbai, India.

Friday, December 11, 2009
Lotte Lindner & Till Steinbrenner

www.lindner-steinbrenner.com
Born 1971 and 1967, live and work in Hannover, Germany. 1996-2004 Braunschweig School of Arts, Dipl. and MA with Marina Abramovic and John Armleder.

Friday, December 18, 2009
Performance artist Lilibeth Cuenca

lilibethcuenca.com
Lilibeth Cuenca (b.1970 in Manila) lives in Copenhagen Denmark. Cuenca is a graduate from The Royal Danish Academy of Fine Arts Copenhagen, (1996-2002). Cuenca works primarily with video and performances. With consummate style and an almost voracious curiosity, she navigates the inter spaces between different kinds of realities and extremes. Between the perfect staging of music videos and the raw reality of documentaries. Between personal confessionals and political commitment. Taking her own Danish-Filipino background as her point of departure, Cuenca displays a keenly honed sensitivity, almost like that of an anthropologist, to the narratives that exist in and between a place of birth and home country. She gathers, adapts, and universalises these narratives in her both critical and humorous approach to central issues such as identity, culture, religion, gender, and social relations.

Marina Abramović: Performing the Gallery/Performing the Museum

Tuesday, October 27, 2009,
doors at 6pm, talk begins promptly at 7pm
Public Discussion with MARINA ABRAMOVIĆ
Inauguration of ABRAMOVIC STUDIO AT LOCATION ONE
presented by Jovana Stokić

The discussion will focus on Abramović’s investigations of transformative quality of time in context of a gallery exhibition. The exclusive video material from Abramovic’s innovative group exhibition in Manchester Whitworth Art Gallery, held July 3 – 19 2009, will be shown. For this groundbreaking event, the Whitworth emptied every gallery space in order to create room for this unique work to develop and breathe. The show began with an hour-long performance initiation with Marina Abramović, leading up to a series of extraordinary encounters between artists and audience. Quite unlike anything staged before in a museum or a gallery, it provided a transformative gallery-going experience.

The evening inaugurates Abramović Studio at LOCATION ONE. Beginning October 2009 the studio, curated by Jovana Stokić, involves artists from Location One residency program in engaging with performance art. The ABRAMOVIĆ STUDIO within Location One is dedicated to exploring long-durational performance works through open-ended forms of workshops, panels and discussions. Marina Abramović, will be the subject of a major retrospective exhibition at MoMA in the spring of 2010 titled “Artist is Present” in which she will be performing continuously throughout the whole duration of the exhibition.

Marina Abramović
Since the beginning of Marina Abramovic’s career, during the early 1970s, where she attended the Academy of Fine Arts in Belgrade, Abramović has pioneered the use of performance as a visual art form. The body has been both her subject and medium. Exploring the physical and mental limits of her being, she has withstood pain, exhaustion and danger in the quest for emotional and spiritual transformation. As a vital member of the generation of pioneering performance artists that includes Bruce Nauman, Vito Acconci and Chris Burden, Abramović created some of the most historic early performance pieces and continues to make important durational works. In 2005, she held a series of performances called Seven Easy Pieces at the Guggenheim Museum in New York. She was honored for Seven Easy Pieces by the Guggenheim at their International Gala in 2006 and by the AICA USA with the “Best Exhibition of Time Based Art” award in 2007. Marina Abramović is represented by Sean Kelly Gallery.

Jovana Stokić
Belgrade-born, New York-based art historian and critic Jovana Stokić holds a Ph.D. from the Institute of Fine Arts at the New York University. Her dissertation, titled “The Body Beautiful: Feminine Self-Representations 1970 – 2007,” analyzes works of several women artists – Marina Abramovic, Martha Rosler, Joan Jonas — since the 1970s, particularly focusing on the notions of self-representation and beauty. Jovana has curated several thematic exhibitions and performance events in the US, Italy, Spain and Serbia. Her recent exhibition “Best Regards form the Blind Spot,” focused on videos by Marina Abramovic, and younger women artists from the region of Serbia and Montenegro. Jovana was a fellow at the New Museum of Contemporary Art, New York, a researcher at the Whitney Museum of American Art, New York, and the curator of the Kimmel Center Galleries, New York University. She has most recently written an essay for Marina Abramović’s MoMA exhibition catalogue.

]]>Virtual Residency Project 2.0: Levels of Undohttp://www.location1.org/levels-of-undo/
Wed, 09 Sep 2009 23:00:28 +0000http://www.location1.org/levels-of-undo/Four artists from 4 different cities, who have never met—and were forbidden to do so during the three months of their “residency”—collaborate on a topic that they had no say in developing. ]]>

Location One Virtual Residency Project 2.0: “Levels of Undo” Four artists from 4 different cities, who have never met—and were forbidden to do so during the three months of their “residency”—collaborate on a topic that they had no say in developing. Is this ethical? Are the parameters unnecessarily rigid? Were they able to produce anything worthwhile under such oddly stringent rules?

Come see the results of this virtual experiment at Location One, on Wednesday, September 9.

Confessedly the rules weren’t quite so harsh as they sound: there were no expectations or requirements to complete any finished artworks, in fact the entire project could conceivably have existed as a blog discussion (see it at http://vres.location1.org). But the four artists (two teams of two) Ben Woodeson (UK) & Ursula Endlicher (US) (Team X), and Narinda Reeders (AU) & Jessica Curry (UK) (Team 7), who were given the topic “Levels of Undo” and precious little else, spent the last three months marinating in that theme and communicating via blog, skype, snail mail, telephone, IM–so long as it did not include meeting face to face–to create some exciting new works, including a few that are not at all virtual.

Location One is pleased to present the fruits of their marination, which include Facebook impersonation performances, Spy pen surveillance video, Morse code sonatas, and analog “Tweets”. What are analog Tweets? Good question. Also making an appearance: a bottle of absinthe that may or may not burst into flames, and a live visitation from the “Old Internet” who tries to “friend” the “New Internet”. How does all this relate to the topic “Levels of Undo”? How indeed. The artists were encouraged to interpret the theme however literally or broadly they saw fit; their interpretations led them to challenge both the idea of “Undoing” as well as the nature of collaboration itself.

Two of the artists will be present at the opening to meet each other for the first time, the other two will teleport in via video chat. Ben Woodeson will also be previewing some of his Virtual Residency Project works at dorkbot-nyc on September 2, 7pm at Location One.

Location One is grateful to the artists for accepting the challenge with such good humor and and grace, and enjoyed watching them so brilliantly do, undo, redo–and ultimately undo our own expectations of this odd experiment.

Artist Bios:

Jessica Curry (Brighton, UK) is a composer based in the UK who spends far too much time with her husband.
Making a child and making work together has formed the basis of their collaborative experiments for the past eight years. A Wellcome Trust commission led on to several successful large-scale projects, including a series of experimental computer games. The latest of these, Dear Esther, was selected for Prix Ars Electronica 2008 and is a finalist in Los Angeles based festival, Indiecade 2009. Their Second Life funeral, The Second Death of Caspar Helendale has recently been selected by The Royal Opera House, UK to be performed there in November 2009. Jessica and her
husband still, however, argue over whose turn it is to do the ironing.

Location One offered Jessica the opportunity to commit collaborative infidelity with a mysterious Australian artist. The temptation proved too much for Jessica and the rest, as they say, is Levels Of Undo.
http://www.jessicacurry.co.uk

Ursula Endlicher (New York, USA) is an Austrian artist living in New York. Her work bridges performance, installation, and the Internet. Using the Web since its days of inception she is interested in its inherent structures and languages – such as HTML – and translates them into visual formats, dance choreography, sound, and installations. Recent works such as the net art piece “html_butoh” as well as the live/web-driven performance series “Website Impersonations” are based on the “html-movement-library”, a database of user-submitted movement directions based on HTML code. Recent shows include venues such as Lightindustry in Brooklyn, New York, Theater am Neumarkt in Zürich, Switzerland, and Woodstreet Galleries in Pittsburgh, PA. She received commissions by Turbulence, and by the Whitney Museum of American Art for artport’s Gate Pages.

For “Levels of Undo” she developed new works that reflect on: the peculiar exchanges with her virtual residency
mate(s), the long and winding road of working online for one and a half decades, and the deep and mysterious experiences with Facebook.
http://www.ursenal.net

Narinda Reeders (Melbourne, Australia) is a media artist and a bona-fide nerd. She studied computer science in the dark ages, before hotmail had been invented and the HTML seemed revolutionary. She also obtained an honours degree in Photography from the Victorian College of the Arts. Her photographs and interactive installations have seen her exhibited nationally and internationally, most recently as part of Experimenta national touring exhibitions, and at the International Symposium for Electronic Art in Singapore, 2008. Narinda is also one half of the performance duo Hit&Miss, with Tai Snaith, although she wishes there were a better word than “performance” to describe the acts of creative mischief they get up to. Dressed identically in red and white, Hit&Miss have been practicing the art of painful stillness and many other absurd acts for the past 6 years. They have popped up unexpectedly in public spaces, exhibitions, parties, flights, shopping festivals and car club rallies in Australia, Scotland and the US.
http://www.narindareeders.net

Ben Woodeson’s (London, UK) practice revolves around absurd and quietly confrontational sculptures. His works set out to challenge the viewer and the exhibiting institution in a playful kind of art chicken. Since December 2008 he has been working on a new series of “ deliberately dangerous” works entitled “The Health and safety Violations”, to date these have included 30,000 ball bearings for the audience to walk on, an electric fence which the audience had no choice but to climb over if they wished to enter the gallery and a motion activated vacuum pump which set about extracting the atmosphere from a sealed gallery every time a viewer was present. In June he was selected for a prize by the artist Mark Wallinger when he exhibited a corridor full of randomly activated trip wires at this year’s Creekside Open exhibition in London. The works sound overtly dangerous… but are they really? For the virtual residency he has
been collaborating with Ursula Endlicher, the two have never met but they will spend the last week before the exhibition opens finalizing works together in New York. He has shown throughout Europe, Canada, and America and he has an upcoming solo show at Electrohype in Malmo, Sweden.

Trained in Glasgow, Scotland he now lives in London, England with his wife the artist Andrea Jespersen and their dog Mia who is deeply unimpressed by his studio that unsurprisingly is full of dangerous shit and things that go “bang”…
http://www.woodeson.co.uk

]]>Tomomi Adachihttp://www.location1.org/tomomi-adachi/
Thu, 30 Jul 2009 19:05:03 +0000http://www.location1.org/tomomi-adachi/Tomomi Adachi
Tomomi Adachi was born in Kanazawa, Japan in 1972 and graduated from Waseda University in Tokyo in 1994 with a degree in philosophy and aesthetics. He has created multiple sound installations inspired by Fluxus, played improvised music with voice, live electronics, self-made instruments (e.g. the “Tomomim”), and has composed works for his own group “Adachi Tomomi Royal Chorus,” which is a punk-style choir. He has also organized experiment music concerts and inter-disciplinary performances in Japan and Germany, working collaboratively with artists such as Chris Mann, Trevor Wishart, Nicolas Collins, Jaap Blonk, Carl Stone, Akira Sakata, Erhart Hirt, Butch Morris, and Jon Rose. Recently, he is focusing his activities on solo performance (with voice, sensors, computer, self-made instruments), sound poetry (especially to the unknown Japanese sound poetry tradition), video installation and workshop style big ensemble with non-professional voice and instruments. To learn more about Adachi’s work, please visit his website at http://www.adachitomomi.com/

Location One 10th Anniversary Exhibition
Laurie Anderson
From the Air: Two Installations

March 10 – May 2, 2009
Opening Reception, Tuesday, March 10, 6-8pm

Location One is pleased to announce the exhibition From the Air: Two Installations, by Laurie Anderson which will be presented in celebration of its 10th Anniversary. Anderson, who was invited to be Location One’s Senior Artist-in-Residence in 2008, will present a new piece and the revival of an older work, both addressing the concept of disembodiment, which has been a common thread throughout her oeuvre. The exhibition will be on view from March 10 through May 2, 2009, with an opening reception on Tuesday, March 10 from 6 to 8 pm.

The title piece, From the Air, uses a series of 3D projections, a technique Anderson has employed since the 1970s, to create a story about the artist and her dog. The second installation, Aleph, projects sound electronically into the gallery space, focusing the sound to make it seemingly emanate from midair. Originally commissioned for the Contemporary Jewish Museum in San Francisco, the text for Aleph is inspired by the unspeakable nature of this Hebrew letter, and the installation examines the unconscious process of putting ideas into words.

Fostered by the experimental art scene of downtown New York in the early 1970s, Laurie Anderson created her earliest performances in Soho, where Location One is based. In addition to continuing her acclaimed performance work, she has gone on to broaden her artistic practice to include music, video, digital art, and sculpture.

Location One will organize its inaugural Benefit Gala in celebration of its 10th Anniversary on Thursday, March 5, 2009. Honoring Laurie Anderson and her contributions to the downtown New York art world and beyond, the gala will feature a preview of the exhibition and a special performance that the artist will reveal.

About Laurie Anderson:
Laurie Anderson is one of America’s most renowned—and daring—creative pioneers. She is best known for her multimedia presentations and innovative use of technology. As writer, director, visual artist and vocalist she has created groundbreaking works that span the worlds of art, theater, and experimental music.

Her recording career, launched by “O Superman” in 1981, includes the soundtrack to her feature film “Home of the Brave” and “Life on a String” (2001). Anderson’s live shows range from simple spoken word to elaborate multi-media stage performances such as “Songs and Stories for Moby Dick” (1999). Anderson has published seven books and her visual work has been presented in major museums around the world.

In 2002, Anderson was appointed the first artist-in-residence of NASA which culminated in her touring solo performance “The End of the Moon”. Recent projects include a series of audio-visual installations and a high definition film, Hidden Inside Mountains, created for World Expo 2005 in Aichi, Japan. In 2007 she received the prestigious Dorothy and Lillian Gish Prize for her outstanding contribution to the arts. She recently completed a two-year worldwide tour of her latest performance piece, “Homeland”, which will be released on Nonesuch Records this year.

We’d like to extend an enormous thank you to everyone who helped celebrate Location One’s 10th Anniversary Benefit Gala on March 5. It was a lovely night and included a beautiful performance and preview of Laurie Anderson’s exhibition From the Air.

Hope to see you all in 2019!

Claire Montgomery, Executive Director of Location One is pleased to announce its first-ever benefit gala held on the occasion of its 10th Anniversary. The gala will take place on Thursday, March 5, 2009 at 7pm at 26 Greene Street. On the night of the gala, internationally-renowned artist and 2008 Location One Senior Artist-in-Residence Laurie Anderson will stage a special performance.

Fostered by the experimental art scene of downtown New York in the early 1970s, Anderson created her earliest performances in SoHo, where Location One is based today. She has gone on to include a variety of media from music, video, digital art, and sculpture, in addition to continuing her acclaimed performance work. Following the gala, Location One will present an exhibition entitled From the Air: Two Installations and will be open to the public from March 10 through April 25, 2009.

Location One’s 10th Anniversary Benefit Gala will be limited to 125 guests, creating an intimate, private atmosphere in which to see the performance and share cocktails and dinner with artists and Location One patrons. The gala will take place as the art world convenes in New York for the Armory Show week.

Proceeds from the gala will fund Location One’s International Residency Program, which supports established and emerging artists in exploring new forms of artistic expression. The gala will also support Location One’s public programs, which include exhibitions of artwork created by artists in residence, as well as music, performances, and lectures.

Location One’s 10th Anniversary benefit gala committee is chaired by Sophie Crichton-Stuart, James Lindon, Alina Pedroso, and Eric C. Shiner. Location One extends special thanks to Champagne Nicolas Feuillatte, Havas, Barclays Capital, Goldman Sachs and Loews for their early commitment and generous support of the 10th Anniversary Benefit Gala.

Individual tickets to the event are $500 to $1,500 and tables are $5,000 to $15,000. Premium tickets include a limited edition sculpture by Nayland Blake. For ticket sales or further information, please contact Cody Montgomery at (212) 334-3347 or cody@location1.org.

Individual tickets to the event are $500 to $1,500 and tables are $5,000 to $15,000. For ticket sales or further information, please contact Cody Montgomery at (212) 334-3347 or cody@location1.org.

Note to the media:
Please note that advance registration is required for access to the event.

]]>Nayland Blake – Misbehavior IIIhttp://www.location1.org/nayland-blake-misbehavior-iii/
Sun, 08 Feb 2009 01:00:11 +0000http://www.location1.org/nayland-blake-misbehavior-iii/During the course of the exhibition, Blake will also curate two more evenings of performances. Each night he will invite five artists, musicians, and authors to react to his work.
]]>During the course of the exhibition, Blake will also curate two more evenings of performances, January 9 and February 7.

Each night he will invite five artists, musicians, and authors to react to his work. The second Misbehavior, on January 9, will be no less spectacular, showcasing additional performer-reactors, as well as a re-staging of Blake’s notorious performance, “Gorge,” a one-hour performance in which the artist sits shirtless in front of a table full of food from which the audience is encouraged to feed him. The final Misbehavior, promises to be a grand finale, full of surprises. Be prepared to see interpretations of Blake’s work by artists such as Zeena Parkins, Carolee Schneemann, and Lynn Tillman.

details on the February 7th perfomances coming soon…

]]>Nayland Blake – Gorge and Misbehavior IIhttp://www.location1.org/nayland-blake-gorge-and-misbehavior-ii/
Fri, 09 Jan 2009 12:39:56 +0000http://www.location1.org/nayland-blake-gorge-and-misbehavior-ii/ Please join us this Friday, January 9th for the second night in a series of performances responding and reacting to BEHAVIOR, the current exhibition by Nayland Blake. At 6pm Blake will reenact his notorious performance, "Gorge," a one-hour event in which the artist will sit shirtless in front of a table full of food from which the audience is encouraged to feed him.
]]>Gorge and Misbehavior
Friday, January 9, 2009
6pm – Gorge / 8pm – Misbehavior
Free Admission
Performers: Eileen Myles, Brina Thurston, Chris Cochrane, Lauren Silberman,
Curated by Nayland Blake

The second night in a series of performances responding and reacting to BEHAVIOR, the current exhibition by Nayland Blake. At 6pm Blake will reenact his notorious performance, “Gorge,” a one-hour event in which the artist will sit shirtless in front of a table full of food from which the audience is encouraged to feed him.

Quietly is a group exhibition presenting seven contemporary international artists whose eclectic practices reflect the dynamic visual perspective of the computer age. From digital painting, hybrid painting, non-painting, and beyond, this exhibition is an experimental exercise in synthesizing the myriad possibilities and challenges that arise from the dissolution of boundaries within the traditional medium of abstract painting. Using vastly layered patterns, morphed imagery, billboard signage, graffiti, and contemporary design these artists offer the opportunity to visually and mentally travel within complex virtual worlds.

“A Peacemax Tree” is an interactive tree made of motors and laser-equipped toy guns. When nobody is around, this violent tree lets its guard down and dances to “White Christmas”. But, when you enter its territory, the tree becomes nervous, and all guns point at you!

A Couple of Irons | 2008 | Interactive Device

The marriage of “A Couple of Irons” unionizes a screen and a camera in two irons as a pair of toys that translates playful mediation. They destroy the meaning and subvert the function of a domestic appliance. As a couple of absurd visual devices, they encourage creative interaction. At the same time, they provoke a question. Is it a design object or an art piece?

“A Peacemax Tree” is an interactive tree made of motors and laser-equipped toy guns. When nobody is around, this violent tree lets its guard down and dances to “White Christmas”. But, when you enter its territory, the tree becomes nervous, and all guns point at you!

A Couple of Irons | 2008 | Interactive Device

The marriage of “A Couple of Irons” unionizes a screen and a camera in two irons as a pair of toys that translates playful mediation. They destroy the meaning and subvert the function of a domestic appliance. As a couple of absurd visual devices, they encourage creative interaction. At the same time, they provoke a question. Is it a design object or an art piece?

Please join us next Wednesday, December 17 for the first night in a series of performances responding and reacting to BEHAVIOR, the current exhibition by Nayland Blake.

During the course of the exhibition, Blake will also curate two more evenings of performances, January 9 and February 7. Each night he will invite five artists,
musicians, and authors to react to his work. The second Misbehavior, on January 9, will
be no less spectacular, showcasing additional performer-reactors, as well as a re-staging of
Blake’s notorious performance, “Gorge,” a one-hour performance in which the artist sits shirtless
in front of a table full of food from which the audience is encouraged to feed him. The final
Misbehavior, promises to be a grand finale, full of surprises. Be prepared to see interpretations of
Blake’s work by artists such as Zeena Parkins, Carolee Schneemann, and Lynn Tillman.

Opening:
Friday the 12th of December from 6 to 9 pm
POINT B Special projects, 71 North 7th St, Brooklyn

The Influence of Fish Tales on the Breaking Waves derives its name from Jules Verne’s novel entitled “The Green Ray” (1882), in which the author describes the disenchantment of the world brought about by the advance of science. In order to stress the importance of the creative thought, Verne chooses the artist, as the captor of the heroine’s heart, rather than the cold and methodical geologist, who is also in love with her. In the end, the artist recommends unsolved research themes, such as “the influence of fish tails on the breaking waves” as a sarcastic answer to the explanation of the green ray as mere optical phenomenon. The author’s vision of art emphasizes the emotive component in deciphering life and natural events against scientific arguments.

The Influence of Fish Tales on the Breaking Waves as an exhibition represents a warning against apathy that exists in contemporary art. When a viewer lacks a reaction to an artwork, this is often because of the artist’s inability to fantasize before, during and after the making of the piece, and consequently the work does not speak. The incapability of imagining beyond the rational here and now can lead to mute, deaf, blind artworks and audience.

This group show seeks to stimulate the viewer towards a perception of the resonant aspects of art and its components of wonder. Through a game of associations, the exhibition attempts to underline the artwork’s capacity to reach out, quoting Stephen Greenblatt’s words, “beyond formal boundaries to a larger world, to evoke in the viewer the complex, dynamic cultural forces from which it has emerged”. A faith in wonder as “an arresting sense of uniqueness”, as well as in the object’s ability to communicate and arouse a sense of surprise in the viewer, is the driving engine of this exhibition.

Artists: Arlen Austin, Kuba Bakowski, Per Billgren, Nina Canell & Robin Watkins, Aoife Collins, Mark Dion, Andrea Galvani, Jamie Isenstein, Ana Prvacki.
As a Master Course in Curatorial Studies final thesis project, this show is proudly sponsored by Columbia University.
This is a travelling project. The next venue will be the Kuntsi Museum of Modern Art in Vaasa, Finland. For the following exhibition spaces and dates, please check out:

This is my my first-ever workshop, and I take it as a project-based work. I have wanted to do this for a long time, so I am very happy to finally have this opportunity.

In this workshop, I ask kids to imagine and draw their inner body. As their ages are up to 7, they are not really familiar with a human anatomy chart or model, so that they can almost “freely” imagine what is inside their bodies. Although the result of the workshop on Nov. 22 shows that most of the kids actually feel the existence of their hearts, blood, bones and so on, as well as the process of food passing through their bodies (many drew their favorite food and poos!), the structures they painted have a diverse imaginative variation. The paintings, which are simply wonderful, are now on display on the window of the workshop room, until Saturday morning.

]]>Nayda Collazo-Llorens: Voice Over and other New Showshttp://www.location1.org/nayda-collazo-llorens-voice-over-and-other-new-shows/
Tue, 21 Oct 2008 18:45:17 +0000http://www.location1.org/nayda-collazo-llorens-voice-over-and-other-new-shows/Voiceover
A public intervention by Nayda Collazo-Llorens
October 25 – November 16, 2008
Viewable from dusk until midnight, Thursdays through Sundays
Opening Reception: Saturday, October 25, 2008, 6PM – 8PM
Artist’s talk: Saturday, November 8, 4:30PM
MediaNoche, 1355 Park Avenue @ 102nd Street, New York, NY
MediaNoche, Manhattan’s Uptown gallery devoted to new media, presents Voiceover, a site-specific public intervention by Nayda Collazo-Llorens. A constant flow of text moving across the storefront windows of MediaNoche engages the public to explore aspects of memory, language and displacement. Viewable at night from the street, nearby buildings and passing trains on the overpass, Voiceover is a non-linear textual piece projected onto the windows of the gallery, located at the Northeast corner of Park Avenue and 102nd Street.

A lyrical, textual composition, Voiceover is based on Collazo-Llorens’ research of the archives and oral histories section of PRdream.com, a web site on the history, culture and politics of Puerto Rico and its diaspora. Fragments from these oral histories are combined with texts from public spaces, literature, the media, as well as the artist’s own writings. The projected words become transmitted signals, simultaneously truncated and expanded, pointing to multiple narrators while triggering viewers to connect to their own experience. The ephemeral quality of the projected light and the fleeting texts suggests the fragility and transient nature of memory and story telling.

ABOUT THE ARTIST:

Nayda Collazo-Llorens was born in San Juan, Puerto Rico, and is a visual artist based in New York City and Pittsburgh, Pennsylvania. She received an MFA from New York University in 2002 and a BFA from Massachusetts College of Art, Boston in 1990. She works in various media, including works on paper and canvas, video, and installations, exploring the way in which the mind processes information.
Recent individual exhibitions include Route/Journal at LMAKprojects (Williamsburg), Brooklyn, NY, 2007; Navigable Zones at Project 4, Washington DC, 2007; Mindscapes at Space Other, Boston, 2006; Roaming, CSV Cultural Center, NYC, 2006; and Configuraciones, Galería Raíces, San Juan, PR, 2005. Notable group shows include the IX International Cuenca Biennial in Ecuador, 2007; 12th International Media Art Biennale, Wroclaw, Poland, 2007; None of the Above: Contemporary Works by Puerto Rican Artists, Real Art Ways, Hartford, CT, 2004, and Museo de Arte de Puerto Rico, San Juan, PR, 2005; and Here & There: Six Artists from San Juan, at El Museo del Barrio, NY, 2001 and Blaffer Gallery, University of Houston, TX, 2002. She was an Artist in Residence at Location One, New York, NY, 2004-05, and a 2006 Grant recipient from the Urban Artist Initiative/New York City. Her work has been reviewed in The New York Times, Art Net, Art US, Art Nexus, Art News and NY Arts, among others. More information on the artist’s work can be found at www.naydacollazollorens.com.

Ellipsis
A public intervention piece viewable after dusk
Oct 30 – Dec 5 2008
Ellipsis consists of a video projection onto Future Tenant’s storefront window in downtown PIttsburgh. A constant flow of text interweaves the narrative of a personal journey with specific references to air travel, weather conditions, technological data, and current news headlines. The work invites the viewers to reflect on the complexities of the mind, language and the fragmented manner in which we perceive and process information.
Future Tenant, 819 Penn Ave, Pittsburgh, PA

10th Havana Biennial
Integration and Resistance in the Global Age
27 March – 30 April 2009
Havana, Cuba
The 10th Havana Biennial will gather artists from Latin America, the Caribbean, Asia, Africa and the Middle East.

]]>Jean Shin at the Museum of Arts and Designhttp://www.location1.org/jean-shin-at-the-museum-of-arts-and-design/
Mon, 29 Sep 2008 18:58:56 +0000http://www.location1.org/jean-shin-at-the-museum-of-arts-and-design/ Using Old Materials to Put a New Face on a Museum

The Museum of Arts and Design’s first exhibitions at 2 Columbus Circle, “Second Lives” (including Jean Shin’s “Sound Wave,” above), “Permanently Mad” and “Elegant Armor,” open Saturday. The shows, Roberta Smith writes, reflect an institution “wild with delight” at having a building of its own.

Please join FIAF for the opening reception of Virginie Yassef’s Alloy,
as part of the Crossing the Line festival. The videos, photographs,
sculptures, and installations of Virginie Yassef reveal the poetry
of everyday life, emphasizing the subtle gap between perception
and reality.

The exhibition goes further into existential questions in contemporary sculpture and reveals forms of the organic, of the bio- and anthropomorphic as well as a broadening of the notion of sculptural material.

The International Jury of the 11th International Architecture Exhibition, presided over by Jeffrey Kipnis (USA), critic and lecturer at the University of Ohio, and comprised of: Paola Antonelli (Italy), curator of the Department of Architecture and Design at the Museum of Modern Art (MoMA) in New York; Max Hollein (Austria), director of the Städelsches Kunstinstitut and of the Schirn Kunsthalle in Frankfurt; Farshid Moussavi (Iran), founder of Foreign Office Architecture in London and lecturer at the Harvard University Graduate School of Design; Luigi Prestinenza Puglisi (Italy), critic, historian and lecturer, specialized in urban planning, and a teacher of History of Contemporary Architecture at the Università di Roma La Sapienza, has decided to confer the official awardsfor the 11th Architecture Exhibition as follows:

The 4 second, looped, camera phone footage of the
American flag was shot in a public location in NYC. The
current climate of political tension around state and
territory and what can and cannot be photographed
provides the context for this video work.

“道 (dào, or Tao) in Chinese philosophy, is a fundamental concept signifying “the correct way,” or “Heaven’s way.” In the Confucian tradition, tao signifies a morally correct path of human conduct and is thus limited to behaviour. But in the rival school of Taoism (Dàojiāo 道教), the concept takes on a metaphysical sense transcending the human realm. The 道德经 (Tao Te Ching – Dàodéjīng), a Taoist classic of contested authorship and date (sometime between the 8th and 3rd century bc), opens with these words: “The tao that can be spoken about is not the Absolute Tao.” The Absolute Tao thus defies verbal definition, but language can make suggestions that may lead to an intuitive or mystical understanding of this fundamental reality.” Britannica Encyclopedia on the concept of tao (Chinese philosophy).

THE EUROPEAN BIENNIAL
OF CONTEMPORARY ART
TRENTINO – SOUTH TYROL, ITALY
19 JULY – 2 NOVEMBER 2008

All exhibition venues open from 10.00 am to 7.00 pm.
Official Opening: 19 July, 2008.

http://www.manifesta7.it

MANIFESTA 7 IS PLEASED TO ANNOUNCE THE PARTICIPATION OF 188 ARTISTS IN
4 EXHIBITIONS

Manifesta 7, the European Biennial of Contemporary Art, is hosted by the Trentino – South Tyrol Region from July 19 to November 2. It takes place in Italy for the first time, stretching across an entire regional territory, encompassing venues in four cities along a course of 150 kilometers joining the north and south of Europe along the Brenner axis: Fortezza (Bressanone), ex Alumix in Bolzano, the Palazzo delle Poste in Trento, and Manifattura Tabacchi and ex Peterlini in Rovereto.

Gallery Side 2 is pleased to present “TRANSACTION” a two persons exhibition by Yumiko Furukawa and Yasuko Watanabe opening from June 27, 2008.
On the basis of her activities and experiences in New York, Yumiko Furukawa, who has presented ambivalent sculptural works questioning the gap of the perception between oneself and others by quoting popular novels, this time visualizes her point of views poetically by capturing the sceneries intuitively in a form of sculpture. Yasuko Watanabe, a young and emerging female artist who made her solo debut exhibition in January this year, has produced works by utilizing various media such as photography, drawing and sculpture. Her works freely suggesting the world outside the frame, dancing lightly the boundaries between the usual and the unusual, give the viewers a refreshing aftertaste with vivid colors.
To represent those images that would never make an appearance, even if they actually exist around you, they interpret them with their free imagination and visualize them by elaborating their skilled creativity.
There will be a sparkling bio-chemistry between the works by these two female artists.

Yumiko Furukawa
Born in Fukushima in 1975. Tokyo National University of Fine Arts and Music, DFA. Currently lives and works in New York.

Yasuko Watanabe
Born in Chiba in 1981. Musashino Art University, MFA. Lives and works in Tokyo.

Yumiko Furukawa
The Safety Valve in Handling Complaints (2008), A Formula That Will Work Wonders for You (2008)

The “City on the Move Art Festival” held by the Taipei City Department of Cultural Affairs has already entered its sixth year. This year, the stage for the festival has been set at the Museum of Contemporary Art, Taipei. It’s divided into two themes – “Eye of the City” curated by Jo HSIAO , researcher at the Department of Cultural Affairs, and “Dark City,” jointly curated by Chao Lee KUO , Associate Professor of the National Taipei University Graduate School of Urban Planning, and Ke-fung LIU , Assistant Professor of the Architecture Department of Chaoyang University of Technology. “City on the Move art Festival” gathers together the talent of thirteen visual artists and architects to express their deepest thoughts and concerns not only about cities, but also about civilization, progress and existence.

For “Eye of the City,” seven local and overseas visual artists were invited, including Nicolas FLOC’H from France, Ryoichi KUROKAWA and Yuki OKUMURA from Japan, and Taiwanese artists Ya-hui WANG, Iuan-hau CHIANG, Chung-han YAO and Chih-chien CHEN. Using the medium of videos and sounds, these artists express the various prospects of the city and explore the concepts of time and sense of urban space, as well as the sights, sounds and even smell existed in the city dwellers’ experiences. They also convey snatches of the emotions or fantasies found in city corners, and the various anxiety hidden within city life. These seven artists use artistic methods to sample slices of urban life and reconstruct or reproduce them, giving viewers an even more penetrating insight into these issues.

The participants in “Dark City” include local experienced architects Albert HO, Jay W. CHIU, Kris YAO, Shi-chieh LU, Kyle Chia-kai YANG and Victor Y. C. SU. These six explore the relativity of lightness and darkness within the city, including urban night life and darker spaces, and the unique, mesmerizing nightscapes of Asian cities, through their individual viewpoints and methods of interpretation. For this exhibition, these architects transform themselves into spatial magicians, using changes in light, shadow and sound, and the reorganization of visiting routes, to create an epitome of their individual “Dark Cities” within the museum.

The “City on the Move Art Festival” held by the Taipei City Department of Cultural Affairs has already entered its sixth year. This year, the stage for the festival has been set at the Museum of Contemporary Art, Taipei. It’s divided into two themes – “Eye of the City” curated by Jo HSIAO , researcher at the Department of Cultural Affairs, and “Dark City,” jointly curated by Chao Lee KUO , Associate Professor of the National Taipei University Graduate School of Urban Planning, and Ke-fung LIU , Assistant Professor of the Architecture Department of Chaoyang University of Technology. “City on the Move art Festival” gathers together the talent of thirteen visual artists and architects to express their deepest thoughts and concerns not only about cities, but also about civilization, progress and existence.

For “Eye of the City,” seven local and overseas visual artists were invited, including Nicolas FLOC’H from France, Ryoichi KUROKAWA and Yuki OKUMURA from Japan, and Taiwanese artists Ya-hui WANG, Iuan-hau CHIANG, Chung-han YAO and Chih-chien CHEN. Using the medium of videos and sounds, these artists express the various prospects of the city and explore the concepts of time and sense of urban space, as well as the sights, sounds and even smell existed in the city dwellers’ experiences. They also convey snatches of the emotions or fantasies found in city corners, and the various anxiety hidden within city life. These seven artists use artistic methods to sample slices of urban life and reconstruct or reproduce them, giving viewers an even more penetrating insight into these issues.

The participants in “Dark City” include local experienced architects Albert HO, Jay W. CHIU, Kris YAO, Shi-chieh LU, Kyle Chia-kai YANG and Victor Y. C. SU. These six explore the relativity of lightness and darkness within the city, including urban night life and darker spaces, and the unique, mesmerizing nightscapes of Asian cities, through their individual viewpoints and methods of interpretation. For this exhibition, these architects transform themselves into spatial magicians, using changes in light, shadow and sound, and the reorganization of visiting routes, to create an epitome of their individual “Dark Cities” within the museum.

A screening and reading and talk with artists Rob Kennedy and Peter Rose
Wed 25th June 2008 7pm

A video screening of Hapless, Helpless and Hopeless, by Rob Kennedy and Peter Dowling, 2008, (34 mins), with film screenings of Secondary Currents (1983, 17 mins) and The Gift (1994, 6 mins), by Peter Rose plus spoken texts, sounds and other paraphernalia

A screening/talk/reading presented by Rob Kennedy and Peter Rose concerning the absurdities, problems and possibilities of language, as affected by image, text, time, sense and nonsense.

Hapless, Helpless and Hopeless is a video by Rob Kennedy and Peter Dowling produced entirely of sampled television advertisements that attempts to adapt and re-define the codes at work in these sales pitches, building a “grammar” that can be used to suggest other readings, other outcomes, other problems, than those nominally prescribed in the role of the advertisement, This is not in some vain attempt at trying to negate the power of these adverts, but in order to construct a constantly shifting series of relationships that mines the psychological, emotional and semiotic power of these highly produced images and sounds.

Grouped together under the title VOX 13 is a series of films by Peter Rose dealing with the complexities of language. By disturbing generally understood codes and conventions these films both critique the problems of communication whilst savouring the joy and humour of language as it is let loose on itself. ‘Secondary Currents’ and ‘The Gift’ are just two of the films from this fascinating series.

A variety of other texts and sounds will be read and played to further present the obscurity of language and our fragile relationship to the signs and conventions that we so readily rely on.

With thanks to Peter Rose, Location One, Filmmakers Coop, NYC.

Rob Kennedy’s residency at Location One is funded by Scottish Arts Council.

Rob Kennedy is an artist from Glasgow, UK, working mainly with video and installation. Coming from a background in sculpture, his video work is concerned more with the physical manipulation of material, language and time rather than acting as a framing device to view the world through a lens. A series of current projects are focused on collaborations with several composers/musicians using techniques of improvisation both live and in the studio, to play with certain generic conventions of television production.

His work has been screened and exhibited in numerous festivals and galleries including Tate Britain, Venice Biennale, Tramway, Transmediale, Impakt, Backup and the Edinburgh film festival.

Since 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose’s background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent work has involved a return to an examination of landscape, time, and vision and takes the form of installation. Rose has been widely exhibited, both nationally and internationally, and has been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival.

Prospect.1 New Orleans

Dan Cameron, Director and Curator of Prospect.1 New Orleans, announced today the names of the 81 local, national, and international artists selected to participate in the inaugural edition of the biennial, on view November 1, 2008, through January 18, 2009. Hailing from 36 countries and five continents, many of these artists are creating new and original works that respond both to the locations in which they will be installed and to the city of New Orleans as a whole, for the largest biennial of international contemporary art ever organized in the United States.

Highlights of the Biennial
A number of biennial highlights respond to the destruction wrought on the city of New Orleans and the Gulf Region in 2005 by Hurricane Katrina. Mark Bradford will create a wooden Ark utilizing the shell of a destroyed house and other discarded scraps of wood in the Lower Ninth Ward. Paul Villinski, a New York-based artist known for creating work from debris who has said he found “new, urgent purpose in the disaster of Hurricane Katrina,” will create his Emergency Response Studio, a “green”-powered mobile artist’s studio, out of a discarded, now-iconic FEMA trailer. South African photographer Zwelethu Mthethwa, who first visited New Orleans in the more immediate wake of the hurricane, returned to the Lower Ninth Ward in late 2007 to create his first photographs outside of Africa, which will debut at Prospect.1.

Highlights of the biennial also include works by artists who have selected unique locations in which to install work. Adam Cuijanovic will paint one of his murals inside an abandoned house in the Lower Ninth Ward, and Nari Ward will convert an abandoned church in the Lower Ninth Ward into an installation. Kay Rosen will transform city billboards and benches into enigmatic word-puzzles. Navin Rawanchaikul will present his New Orleans I Love Taxi Project, similar to one created in New York in 2001 with the Public Art Fund. In New Orleans, he will interview taxi drivers and weave their tales into a comic book story that he will produce and print, then distribute in city taxis during the biennial.

A number of New Orleans-born and based artists have also been selected to participate in the biennial, among them Shawne Major, who is creating three large-scale wall hangings; Willie Birch, who will present a new series of drawings; and Croatian-born, New Orleans-based sculptor Srdjan Loncar, who will erect a sculptural pile of money in front of the Old U.S. Mint and encourage the public to carry some of it away in briefcases provided at the site.

Participating Venues
Previously Announced: Contemporary Arts Center New Orleans, The Historic New Orleans Collection, L9 Center for the Arts, Louisiana Artworks, The Old U.S. Mint Louisiana State Museum, The National World War II Museum, New Orleans African American Museum, New Orleans Center for Creative Arts|Riverfront, New Orleans Museum of Art, Newcomb Art Gallery at Tulane University, and the Ogden Museum of Southern Art.

New Venues: Ashé Cultural Arts Center, The George & Leah McKenna Museum of African American Art, and Longue Vue House & Gardens.

Funding
This exhibition has been made possible with the support of Prospect.1 New Orleans Founding Benefactor Toby Devan Lewis; U.S. Biennial, Inc. Board of Directors; The Andy Warhol Foundation for the Visual Arts, Inc.; and the Prospect.1 Kingfishers Leadership Committee.

U.S. Biennial, Inc., the nonprofit organizer of Prospect.1, continues active outreach for funds to underwrite the exhibition. To make a donation, please visit http://www.prospectneworleans.org

About Prospect.1 New Orleans:
Dan Cameron conceived Prospect.1 New Orleans to reinvigorate the city, a historic regional artistic center, following the human, civic, and economic devastation of Hurricane Katrina. The primary goal of the biennial exhibition is to redevelop the city as a cultural destination where the visual arts are celebrated and can once again thrive. New Orleans was the first U.S. city to host a recurring international art exhibition, beginning in 1887 with the Exhibition of the Art Association of New Orleans. In this tradition, Prospect.1 will provide the public with work by 81 artists conceived and developed for the city. The largest international art biennial ever held in the United States, Prospect.1 will reach an estimated audience of 100,000 visitors, half of whom will likely be Louisiana state residents.

Benji Okuda instructing a life drawing class, an adult night school group at the Heart Mountain Relocation Center, Heart Mountain, Wyoming. Image courtesy of the National Archives, Records of the War Relocation Authority, 1941-1947.

Night School is an artist’s project by Anton Vidokle in the form of a temporary school. A yearlong program of monthly seminars and workshops, Night School draws upon a group of local and international artists, writers, and theorists to conceptualize and conduct the program.

Thursday June 19th, 7:30PMSpace within space within space

Vitamin Creative Space functions as an alternative working model specifically geared to the contemporary Chinese context. In order to operate independently from institutionalized funding, it is active both as an “independent” art space and as a “commercial” gallery. Vitamin Creative Space is actively challenging preconceptions by merging these two models, which traditionally are opposed strategies for supporting and presenting contemporary art, and is developing new Chinese contributions through research into both: the artistic practice and institutional organization within the new global context.

The seminar will look at the recent practice of Vitamin to explore how it is not merely a physical space, but is an attempt to create a new model for development and distribution of artist’s new thinking on creativity.

Friday, June 20th, 7:30 PMThings to do while you’re alive

Accompanied by a slide show of Hu Fang’s recent pictorial collection of adverts, signs, photos from the realm of public media, Hu Fang and Zhang Wei will spontaneously generate a narration of a “life journey” and spatial transformations, outlining global surroundings we are living in and how there can be a possibility of the space for the artistic view of life: a view which proposes an alternative way of transforming reality.

Saturday, June 21st, 3 PMKeywords School

The “Searching for Keywords” project was initialled from a series of interviews of active people in the Chinese society or people in the active Chinese area. By analyzing the content of these conversations, artist Xu Tan identified certain “keywords,” terms which shed light on values and motivations of contemporary Chinese society. “Keywords” measure the pulse of the current social climate and present an insight into the collective social consciousness of China. “Keywords” looks at connections between the individual speakers, words and the mental tendencies of the society.

In this seminar, Zhang Wei and Hu Fang will invite Xu Tan to discuss his Keywords project and introduce the idea of opening a “Keywords School,” as well as his conceptual approach, method and the larger social landscape made visible by the Keywords – a landscape of “collective consciousness” which actually frames our daily process.

Zhang Wei is director and co-founder of Vitamin Creative Space http://www.vitamincreativespace.com established in 2002, an independent art initiative exploring an alternative working mode, specifically geared to the contemporary Chinese context. Lives and works in Guangzhou and Beijing.She graduated with a MA in Creative Curating at Goldsmiths University in London, and has organized numerous exhibitions internationally. She has contributed to numerous exhibition catalogues and international magazines including Parkett, and curated(co-curated) and organized the show inside and outside Vitamin Creative Space include “Sprout from White Nights”(Bonniers Konsthall, Stockholm, 2008), “Through Popular Expression” at the Singapore Biennial (2006),ect. Zhang Wei is particularly interested in the exploration of the unique contribution from Chinese context within the international contemporary scenes, through which people can be inspired to find the new entry into life.

Hu Fang is an author and co-founder of Vitamin Creative Space. Lives and works in Guangzhou and Beijing.As a novelist and writer, Hu has published a series of novels including Shopping Utopia, Sense Training: Theory and Practise, and A Spectator. His recent publication is a collection of fictional essays called New Arcades (Survival Club, Sensation Fair, and Shansui.) His writing has appeared in Chinese and international art/culture magazines since 1996. His curatorial practices are widely engaged in different situations within Chinese and international contexts, he is coordinating editor of documenta 12 magazines, link curator of Singapore Biennial 2006 and a “player” of Lyon Biennial 2007, as well as the member of the curatorial team of Yokohama Triennale 2008.

Xu Tan was born in Wuhan, Hubei Province in 1957 and currently lives in Shanghai and Guangzhou. In the early 1990s he joined the “Big Tail Elephant Group” in Guangzhou with Lin Yinlin, Chen Shaoxiong and Liang Juhui. The aim of this group is to develop critical strategies for negotiating the rapidly changing economic and cultural life in China. His work has been shown around the world including the P.S.1, Biennale di Venezia, Berlin Biennial, Asia Pacific Triennial of Contemporary Art in Brisbane, Australia, Guangzhou Triennial, Taipei Biennial, De Appel in Amsterdam. Recent solo shows were held at the DAAD Gallery in Berlin, at the Vitamin Creative Space in Guangzhou, at BizArt is Shanghai.

All events are free with Museum admission but tickets are required. Tickets can be reserved online or at the Museum one week before the seminar’s start; a limited number of tickets will be available one hour before each event’s start. Tickets are limited, distributed on a first-come-first-serve basis, and must be collected prior to the event’s start time. Unclaimed tickets will be released promptly at the event’s start time. Please check individual events below for tickets and more information.

Gallery Satori is pleased to present our first inaugural exhibition, UNREAL CITY curated by Mariko Tanaka.

UNREAL CITY focuses on artists’ portrayals of the urban metropolis with works by international artists active in North America, Europe, and Asia. With U.N. forecasts that half of the world’s population will live in “mega cities,” and that most will be city dwellers by 2050, artists in this exhibition have been challenged to interpret both the present and future of urban life. By exploring cities as dynamic products of human imagination – even arising through a sort of collective imagination, the process of a city remaking itself can be seen as a large scale parallel to the process of art making.

The exhibition considers the role of human imagination in transforming cities both from the top down, and the ground up. Examining the role of the urban developer as parallel, with that of the artist, the exhibit seeks to explore the tumultuous and transformative spirit of contemporary cities. Borrowing its title from T.S. Eliot’s “The Waste Land,” the exhibition focuses on the basic unreality of contemporary cities, in the sense that they are under constant re-imagination, and often only loosely tethered to their cultural origins. This unreality inherently forces tensions between new and old. And, while never unattended by controversy, this tension is undeniably a creative force to be reckoned with.

Drunken Man by Jiu Kuang, based on a famous poet of the western Jin dynasty (265 -420)Blue Pipa (inspired by Miles Davis) by Min Xiao-Fen
The North of Sunset by Thelonius Monk, arr. by Min Xiao-FenMo(dedicated to the victims of the Sichuan earthquake) by Min Xiao Fen and Wu Na

Four Fragments for solo violin by Huang Ruo

Excerpts from The Joy Luck Club

a play by Susan Kim, adapted from the novel by Amy Tan
with direction & musical staging by Tisa ChangOblivion by Piazzolla

Drunken Man by Jiu Kuang, based on a famous poet of the western Jin dynasty (265 -420)Blue Pipa (inspired by Miles Davis) by Min Xiao-Fen
The North of Sunset by Thelonius Monk, arr. by Min Xiao-FenMo(dedicated to the victims of the Sichuan earthquake) by Min Xiao Fen and Wu Na

Four Fragments for solo violin by Huang Ruo

Excerpts from The Joy Luck Club

a play by Susan Kim, adapted from the novel by Amy Tan
with direction & musical staging by Tisa ChangOblivion by Piazzolla

]]>Eric Siu – Apexart, Come Out & Play, Supermasochisthttp://www.location1.org/eric-siu-apexart-come-out-play-supermasochist/
Mon, 09 Jun 2008 14:57:41 +0000http://www.location1.org/eric-siu-apexart-come-out-play-supermasochist/ Apexart, Come Out & Play, Supermasochist“OP” is selected to be part of the screening.
11 June (Wed), 11:00am to 6:00pm, Film screenings from apexart’s open call for short performance videos on the topic of exhibitionism and sado-masochism.
11 June (Wed), 6:30pm to 8:00pm, Discussing S&M: A painless conversation with Sheree Rose
291 Church Street (between Walker and White), New Yorkhttp://apexart.org/exhibitions/comeout/rose.htm

]]>Eric Siu – Apexart, Come Out & Play, Supermasochisthttp://www.location1.org/eric-siu-apexart-come-out-play-supermasochist-2/
Mon, 09 Jun 2008 14:57:41 +0000http://www.location1.org/eric-siu-apexart-come-out-play-supermasochist/ Apexart, Come Out & Play, Supermasochist“OP” is selected to be part of the screening.
11 June (Wed), 11:00am to 6:00pm, Film screenings from apexart’s open call for short performance videos on the topic of exhibitionism and sado-masochism.
11 June (Wed), 6:30pm to 8:00pm, Discussing S&M: A painless conversation with Sheree Rose
291 Church Street (between Walker and White), New Yorkhttp://apexart.org/exhibitions/comeout/rose.htm

556 West 22nd Street, New York, NY 10011
tel 212.255.0719 e-mail contact@chelseaartmuseum.org
fax 212.255.2368
open Tuesday through Saturday Noon to 6pm
Thursday Noon to 8pm
closed Sunday and Monday
$8 adults, $4 students and seniors, free for members and visitors 16 and under

> Hoofers’ House
> Hosted by Jason Samuels Smith
> Featuring DJ Reborn
>
> Live Visuals by Rashaad Newsome
>
> Friday, May 23, 8pm
>
> FREE
>
> Co-Presented with The Studio Museum in Harlem
>
> Curated by Rashida Bumbray
>
>
>
>
> Hoofers’ House is an ongoing quarterly series where some of the
> best of New York City’s rhythm tap community come together to share
> and showcase their moves. Among the most unique and cutting edge tap
> jam sessions in the city, Hoofers’ House has been
> propelling a rejuvenation of the genre for the last several years
> with the addition of live and electronic music and projected
> visuals. Prominent past participants who have graced the floor
> include figures such as Fayard Nicholas, Jimmy Slyde, Tina Pratt,
> Jason Bernard and Ayodele Casel. So come enjoy the show or bring
> your shoes and join the jam!
>
> This program is made possible with generous support from Altria Group,
> Inc., The Harkness Foundation for Dance, The Jerome Robbins
> Foundation, the Mertz Gilmore Foundation, and with public funds from
> the New York City Department of Cultural Affairs and the New York
> State Council on the Arts, a state agency.
>
>
> Photographer: Ray Llanos
>
> For more information about all
> Kitchen events, visit
> www.thekitchen.org.
> The Kitchen is located
> at 512 West 19th Street between 10th and 11th
> Avenues.
> Subway: A, C, E to 14th Street; 1 to 18th Street;
> L to 8th Avenue

Spring is here at last, Location One’s 10th Anniverary is coming up fast, and all those exciting names on the cover of this letter are part of an astonishing program of events that we invite you to come and be part of.

Australian video pioneer Tracey Moffatt is challenging us right now with her Social Edit, a suit of three films currently in our main gallery, in which she uses snippets of early and contemporary Hollywood movies to reflect on notions of nation, race and class…Coming in May is Aoife Collins‘ first solo show in the US: works of sculpture, sound, collage and video that reflect on ideas of Artaud, Baudelaire, and Rimbaud…And artist Nina Sobell will install her own studio in our project space, there to converse with visitors about her work and to improvise via the web with those who bring their own instruments.

Choreographer and dancer Glen Rumsey reprises his ignoredin my heaven…, possibly our most popular commissioned work ever, on April 4th and 5th, with many of the original dancers returning. In 2005 all performances were standing-room-only, so book early. Then on May 2nd come to see and hear the dean of the scene, poet Bob Holman, performing tracks from his new CD The Awesome Whatever with musician-collaborator Vito Ricci, and New Randy (that’s poet Holly Anderson and musician Lisa B. Burns) telling stories, singing songs with “melodies that soar and scorch and torch”.

Come Fall, we’ll be offering new work from Laurie Anderson, artist, musician, storyteller, generous creative spirit, and this year’s Location One senior artist in residence…and a solo show from Jean Shin, who during her residency this year, conceived a new metaphor using music to speak about the presence and absense of the body as well as a means of mapping out imaginary communities…We’re delighted to announce that next year’s senior artist in residence will be the legendary video, visual and performance artist Joan Jonas.

In September we also begin our by-invitation international fellowships for mid-career artists who want time and resources to reflect and eplore and create work they might never make if working commercially or within the bounds of their daily lives. Our first fellows will be two Britons: the sculptor Conrad Shawcross, whose insights into the harmonics of the universe fascinate us and “reveal the possibility that the certainties of science may be fiction and not fact”, and director-dramaturg-performance artist Sophie Hunter, who creates a theatre of moving images, absurd humor and vivid tableaux.

Check our web site for additional events as they’re scheduled. Meanwhile, we hope some of these wonderful talents will bring you back to Greene Street very soon.

“The spatial behaviours that underpin present day life are subject to a broad pattern of structural change, a silent revolution often referred to as the information society, portrayed as a new, knowledge-based and borderless world, commonly associated with a collapse of time and space. As a result, spatial planning at a variety of scales is dealing with a new economic geography, electronic-based transactions, increased mobility and accessibility, and fundamental changes in the valorisation of spatial resources and assets. This information society has implications for future patterns of spatial development, creating a need for different and sometimes radical imaginations of spatial futures. (…)”
Gordon Dabinett, Planning and spatial justice in an information society,
in Localism and the information society, Edited and compiled by Richard Berry & Dave McLaughlin, UK, 2007.

The exhibition follows a workshop hosted by the Jan Van Eyck Academy in Maastricht, and partly ponder upon the area F-7, the only plot of land in the heart of Almere that hasn’t been ruler drawn yet.
New works will be developed and added throughout the duration of the show.

Amongst the works I present:
– Ecumenopolis (Worldwide, 2004-2008)
An MJPG nonlinear digital film experimenting with cinema as an apparatus of memory, a video still life of a sort. Using over 1500 short videos filmed in 60 cities, the aim of the piece is to represent the idea that in the future urban areas and megalopolises would eventually fuse and there would be a single continuous world-wide city as a progression from the current urbanization and population growth trends. As Brans Stassen, the man behind the planning of Almere said himself; such a dynamic is already occurring on a regional level in Flevoland.
– Filipino emigration series (The Philippines, 2008)
60 ID pictures in a specially designed cabinet (250x26x90cm)
– Bush’s names in Chinese (China, 2004)
Shanghaiese manufactured copper sheets (120x200cm)

Glen Rumsey Dance Project returns to Location One with this reprise of “ignored in my heaven…” a suite of surreal and magical dances inspired by dream and travel journals

Glen Rumsey Dance Project, ignored in my heaven…
Originally commissioned by Location One in 2005. (Please note that the current exhibition Social Edit by Tracey Moffatt will be CLOSED the following days, Thursday, Friday Saturday, April 3, 4 and 5.
Tickets $15, members free.

Snake Alley is part of Asian Contemporary Art Week which connects leading New York City galleries and museums in a citywide event comprising of public programs such as exhibitions, receptions, lectures and performances. The Week focuses on the broad spectrum of artworks produced by Asian contemporary artists working in their home countries and abroad. Please see details from http://www.acaw.net/ACAW2008/aboutacaw/

Snake Alley is a two-venue group exhibition of cutting-edge Taiwanese contemporary art at The Taipei Cultural Center and The Gabarron Foundation Carriage House Center for the Arts—Curated by Eric C. Shiner

Deep in the midst of Taiwan’s capital Taipei lies the Wanhua District, the city’s most historic area and home to Longshan Temple, the city’s oldest religious structure. The area was also home to Taipei’s red light district and a tourist attraction called Snake Alley where live animals including snakes and turtles were displayed in small cages—and often publicly killed for the extraction of their blood which could be consumed on site for good health and sexual prowess— until animal rights activists successfully brought the practice to a stop in the 1990s, or, more likely, pushed these activities behind closed doors, and thus ending this spectacle that was interweaved with tradition and hucksterism writ large. Today, it is a place filled with restaurants, night markets and shops, reflective of the bustling hub of the gleaming modern city that surrounds it. Yet, at the heart of Wanhua lie the secrets of Taipei’s past, a conceptual and shared history that artists from Taiwan have looked to again and again for subject matter that so often plays out in their work. In SNAKE ALLEY, the work of many of Taiwan’s most prominent contemporary artists shows how they are negotiating the epic changes that have occurred over the last two decades in Taiwan as the nation has exploded economically, and how they rectify those changes with an at times troubling past.

All of the artists in the exhibition examine the secrets, shadows and growing pains of contemporary Taiwanese culture. By no means pessimistic, their works smartly analyze the underground aspects of a specific site bound in the throes of unprecedented growth and informed by the binary of stability versus uncertainty that comes along with it. These artists look at the themes of identity, sexuality, politics and the environment (both built and natural) frequently, making critically-aware art that engages rather than condemns the ever-changing face of Taiwan.

Photojournalist and artist Chang Chien-Chi, for example, often turns his camera’s lens on the unspoken. His best known project comprised portraits of psychiatric patients whose families deeded them over to a temple complex known for taking in the unwanted. In SNAKE ALLEY, Chang again focuses on a topic of current debate in Taiwan: the growing number of older Taiwanese men who are traveling to Vietnam to use a service that matches them with a wife. Chang documents the process from start to finish in his “Double Happiness” series, showing the young women being interviewed, documented and eventually married (in a group ceremony) to their new mates from the other side of Asia. The portraits show resignation and excitement in not only the brides, but the nervous grooms as well, and document the simple fact that due to demographics, there simply aren’t enough women of marriageable age available for every potential husband back in Taiwan.

Twin brothers Chang Keng-Hua and Chang Geng-Hwa collaborate on projects revolving around technology and violence, and the fine line between the two. Here, the brothers display works from their “Shotgun Blue” series, sumptuous imagery of machine guns wrapped in black nylons and set against a rich blue ground. By encasing these lethal weapons in a product used in the construction of beauty—and the occasional bank heist—the Changs attempt to put a soft edge on the hard core realities of a world marred by war and violence, while at the same time critically addressing the media’s fixation on packaging war as a consumer product in and of itself. Young artist Chang Ling also looks at the meeting point of media and culture in his eerie paintings that combine traditional Chinese motifs, such as imagery of animals and nature, with such contemporary subject matter as war planes and mutated bodies. His fleshy and mysterious beasts populate a world riddled with violence, suggesting that Armageddon is upon us, or that it has already come to pass. Painter Wu Tien-Chang also depicts alternate bodies in his work, most often in the form of a strange clown-like character who appears again and again in the artist’s oeuvre. Whether riding a bicycle built for two or rowing in a boat, Wu’s strange and slightly menacing clowns, like Chang Ling’s animals, allow us to imagine a world populated by the completely bizarre.

Contemporary dance wunderkind Chou Shuyi not only pushes into uncharted territory in his choreography and dance performances, but also goes so far as to create installation art within which he stages dance happenings. Seemingly impromptu in nature, his jolting recitals are in actuality very much planned and rehearsed; their manic movements and seizure-like vibrations standing in for the real bodies which navigate the space of a radically-shifting Taiwanese landscape, both actual and psychological. Photographer and performance artist Hou I-Ting also looks at the topic of changing bodies in space by using herself as the primary subject of her work. Hou uses costuming and make-up to create alternate personalities, for example a sexy—yet faceless—figure in Day-Glo fishnets and a neon yellow wig in an early video work, while using a projector in other photo-based work to literally screen other possible selves onto her actual face and body. In so doing, Hou melds fantasy and reality, making us question the limits of both.

Painter Hua Chien-Chiang also creates fantasy environments, often using mythic animals and technologically-enhanced bodies as the main characters in his vivid canvases. In Hua’s world, birds sprouting earphones or USB cables as plumage are the norm, as are human beings with recharger attachment portals and futuristic jetpacks. Here, the past and the future become one, exactly mimicking the actual conditions of society in flux that so defines contemporary Taiwan. Sculptor and installation artist Huang Shih-Chieh also works within this vocabulary, but in radically different—and often large-scale—ways. A representative of Taiwan at the 2007 Venice Biennale, Huang is known for using junk technology as the primary material in his work. Highlighter fluid, cheap plastic shopping bags, remote control toy motors and other odd elements all come together in Huang’s flashing and whirring contraptions as if to bring a sense of optimism to the patchwork nature of life in the here-and-now. For SNAKE ALLEY, Huang installs his massive work Organic Concept in the carriage house of the Gabarron Foundation at 149 East 38th Street. Consisting of just a few box fans and meter-upon-meter of reconstituted plastic bags, the billowing snake form that results inhabits the entire space and is both menacing and tranquil in equal measure. Sculptor Wong Yuh-Shioh also uses the detritus of life—polystyrene foam, marbles, bricks—to piece together fantasy realms based in the realm of nature. Her Jellyfish Lamp sends out a bright light that seems to expose the cheap materials from which it is made, making us question the concept of truth and beauty, and indeed of life itself.

Carrying on with this theme, artist Ku Shih-Yung presents a video work, The Astonishment of What I Have Been Through Abolishes the Aureola of Experience, that features an animated skeleton cavorting on the screen. Part of a larger installation that was presented at the Taipei Museum of Contemporary Art, the work looks at the underpinnings of life and how something as simple as our own biological framework can be construed in a variety of ways, while at the same time charting the course of time on our physical containers. And it is those very containers that photographer Kuo Hui-Chan takes as her subject matter, often times using her own body as the canvas upon which she depicts alternate beings or fantasy environments. Literally painting aspects of architecture, nature and urban views over her skin and clothes, Kuo becomes a chameleon that perfectly blends into her surroundings, whether against a back alley wall in downtown Taipei, or standing in a rice paddy in the countryside. By becoming one with the diverse landscapes of Taiwan, Kuo charts her lived environment by fusing herself to its very make-up.

The youngest artist in the show, Lan Yuan-Hung, also manipulates the body, however does so not to blend in, but to stand out. His grotesque digital manipulations feature men across a variety of age groups and body types lying in their beds in contorted poses and sprouting additional appendages such as an extra leg here or a third arm there. Seemingly depicting the after effects of a toxic spill or nuclear disaster, Lan’s mutants both repulse and attract thanks to their focus on the flexibility of the human form, whether through digital or actual means. Video artist and photographer Lin Hsin-I also features mutants in her animated films and enhanced photography. Here, the artist plays the role of a futuristic nymph with cyber eyes and sockets embedded into her flesh, no doubt a site for the implantation of nourishment, energy or data. Lin’s work often features this cyborg character in lush tropical environments, an effect that makes her robot-like form appear even further distanced from nature. She questions the role of the human corpus as technology gradually overtakes it, positing that at some point in the not-too-distant future we may all begin to morph into hybrid bodies that straddle the binary of nature versus technology. Video pioneer Yuan Goang-Ming also explores this divide in his new series of videos and C-prints composed of endless thickets of lush green leaves, all without life-giving veins below their glistening surfaces. Through using technology to erase an important element of his natural subject, Yuan takes on the role of creator, editor and fabricator in one fell swoop, producing a faux nature that can never exist in real life.

For sculptor Shyu Ruey-Shiann, this same binary has always infused his work with a hard-edged grit and witty sense of humor. Known for his large-scale sculptural works made from old machine parts, working motors, fan belts and gears, Hsu seems to utilize the detritus of industry as the primary building blocks of his elaborate works. Referencing Taiwan’s own loss of industrial jobs due to rising production costs and the migration of factories to mainland China in the 1990s, Hsu’s work gives the past’s mechanical ghosts a new lease on life. Here, his new sculpture Between comprises two standard kitchen garbage cans in metal. When guests use the foot pedal to open the can, they are confronted with a most unexpected barrage: lion roars exploding from the speakers set within. As with his massive churning sculptures, Hsu here too seamlessly blends the natural with the man-made, forcing us to question where the line of distinction between the two truly lies.

Video artist Tseng Yu-Chin also confronts the “man-made” in his work, but not via industrial or technological means. Tseng is much more concerned with the production of identity as it develops in childhood and how the fears, dreams and secrets of our youth remain with us for a lifetime. Perhaps Taiwan’s most celebrated young artist, with a showing at Documenta in 2007 and the recent receipt of China’s most celebrated art prize, the ACCC Award, Tseng has created an entire aesthetic vocabulary based on diverted glances, childhood uncertainty and a sense of longing for something just outside the camera’s frame. Haunting in its loneliness, Tseng’s work takes us back to the universal time of feeling out of place and prompts us to think about the influence these memories have on us today. Novelist and photographer Seven U also takes us back in time, whether through a literary passage about the glories of youth, or through his stark black and white photography that documents the abandoned or hidden space of cities around the world. In his “Low” series, U snaps pictures in old factories and empty buildings throughout Taipei, showing that even in the face of unprecedented development and economic growth, unwanted and unkempt spaces still exist. Indeed, all of the artists in SNAKE ALLEY turn to the secrets and fantasies of a society in flux for inspiration, and in so doing, create works of art that capture the uncertainty, aspirations and realities of life in Taiwan today.

The term “détournement” comes from the political and artistic movement Situationist International, which became known for the reuse of existing elements within well-known media in order to create new work with a different message.Détourned Menu: Food in the Form of Activismbrings together a group of artists who investigate issues raised by the proliferation of biotechnology, perceived scarcity, and the weakening of standards that devalue terms such as “organic” and “all natural.” The performing, visual and collaborative artists included within this exhibition use food as a basis for their art and public education efforts. In so doing, they explore the ways in which food is intertwined with the interactions and decisions of our everyday lives. Providing food for thought, as well as something to fill one’s belly, the artists disrupt the visual and spatial codes of everyday life in order to render legible the relationship between food and the economic, social, ethical, and political realms.

If you have any questions about this exhibition, please contact:
suzuki@iseny.org

Batbox / Beatbox by Jani Ruscica is a work consisting of two experimental short films. Batbox / Beatbox reveals the limitations of human sight both in nature and in a cultural context. This work parallels two very opposed environments: nature depicted through bats’ nightly echolocation and the urban metropolis navigated by hip-hop artists.

“The films focus on two different ways to use sound and movement as tools to navigate and identify one’s environment. In Batbox sound and movement is portrayed as a biological phenomenon, in Beatbox as a cultural one. The dialogue between the two short films is skilfully realised on a structural, aural and contextual level”, says curator Marita Muukkonen from FRAME Finnish Fund for Art Exchange.

Ruscica has realised Batbox in collaboration with bat bioacoustics researcher Jon Flanders from Bristol University in England. Shot in a bat research laboratory and at night-time in the woodlands in Dorset, Batbox is a poetic depiction of bats’ capacity to use sound as a tool to locate themselves geographically. The searchlight used in the dark woods reveals human’s inability to see.

The leading roles in Beatbox are played by New York beatboxers Kid Lucky and Shockwave as well as Spoken Word artist Vocab. The spotlight used to highlight the suburban streets, basketball courts and subway tracks reveals the urban space a stage. Beatboxing is often called the fifth element of hip-hop; it was created in the South Bronx in the late 1970’s. With the lack of instruments and decks hip-hoppers started to emulate the sound of turntables, beats and drums with their voice. In the process Ruscica gave free rein to the beatboxers. Artistic collaboration and dialogue became central, the idea of creating together.

The work reflects on cultural processes, and on different ways to comprehend one’s living environment as well as on the aim to see without prejudice.

Jani Ruscica (b. 1978, Savonlinna, Finland) has a Bachelor of Arts degree from the Chelsea College of Art and Design in London and is currently finishing his Master of Arts (Art and Design) degree at the Finnish Academy of Fine Arts. Ruscica has worked as artist-in-residence in New York, Amsterdam and the Faroe Islands, and his video works have been exhibited in various international exhibitions, for example in London, Copenhagen, Berlin, St Petersburg, Barcelona and New York

Batbox / Beatbox will be on show at the Digital & Video Art Fair, The Streets in one of the twenty shipping containers brought to the gallery district in West Chelsea, New York for this event, from March 25 to March 30, 2008 with a preview on Saturday March 22, 2008 from 4 pm to 8 pm.

Batbox / Beatbox is being organized in collaboration with FRAME Finnish Fund for Art Exchange and the Finnish Cultural Institute in New York.

February 10, 2008 – May 4, 2008

One Way or Another: Asian American Art Now, a traveling exhibition organized by the Asia Society, brings together seventeen artists from across the United States who challenge and extend the category of Asian American art. The title of the exhibition, drawn from the 1978 Blondie hit song, suggests a non-formulaic way of making or seeing art. The artists and their works characterize the freedom to choose, manipulate and reinvent different kinds of languages and issues, whether formal, conceptual, or political. Together, they defy a definitive conception of Asian American art.

The exhibition features painting, sculpture, video and installation art by contemporary Asian American artists who—with a strong sense of being American and an acute critical consciousness of world matters—grapple with issues of self in a way that sets them apart from their predecessors.

Curated by Melissa Chiu, Director and Curator of Contemporary Asian Art at the Asia Society Museum in New York, Karin Higa, Adjunct Senior Curator of Art at the Japanese American National Museum, Los Angeles, and Susette S. Min, Assistant Professor of Asian American Studies and Art History at the University of California, Davis.

Where Are You From? Contemporary Art from Portugal De Onde Vens? Arte Contemporânea de Portugal
February 1 – April 20, 2008

An exhibition of work by 21 Portuguese artists who draw on culture,
place, art, history, family, and theory in order to express where they are from
in photographs, video, sculpture, and works of new media.
Curated by Lesley Wright.

Community Day “Where are you from?”
Saturday, February 2, 1:00-3:00 pm
Bucksbaum Rotunda
Hands-on activities for people of all ages, tours of the exhibition. Make a book, write and illustrate your history, share your story.

January 16 Wed. – February 17 Sun., 2008
MISAKO & ROSEN is pleased to announce our first solo exhibition with artist Yuki Okumura : I Me Mine”. Yuki Okumura’s work begins with an examination the body; particularly, that of the artist. The resulting observations take various forms ultimately amounitng to a flexible fom of site-specific installation.

January 16 Wed. – February 17 Sun., 2008
MISAKO & ROSEN is pleased to announce our first solo exhibition with artist Yuki Okumura : I Me Mine”. Yuki Okumura’s work begins with an examination the body; particularly, that of the artist. The resulting observations take various forms ultimately amounitng to a flexible fom of site-specific installation.

We Interrupt Your Program

We Interrupt Your Program is a group show of video and new media works by fourteen emerging and mid-career female artists. Through their work, the artists intervene in, reconfigure, augment, and/or re-contextualize dominant narratives of war, violence, power, science, technology, gender, and the natural environment from a feminist, or at least female, perspective.

Despite the uniqueness of the Article 9 of the Japanese Constitution, its very existence is surprisingly not well-known in other countries. Through this exhibition, not only will the post-war Japanese art be introduced, but the Article 9 will also be introduced to the audience in New York. The exhibition will investigate the historic significance and importance of how Article 9 was developed and how because of this, there was no blood shed from direct confrontation for 60 years after the war.

Interviewee #2. “I think nowadays that all artists are international. We all communicate, because of technology – internationally. But maybe a new situation is called for; and maybe what is needed is to look at how an artist is inter-local, in that the local is what becomes important.”
– from The Interview 2006, http://www.location1.org/andrew-duggan/

AON ÁIT ANSEO/ANYWHERE HERE will look at how visual artists transfer methods and practices from place to place (anywhere) yet pay attention to the micro (here).

An added bonus is the involvement of local artists Caoimhghín Ó Fraithile and Darryl O’ Curnain. The mix of ‘international’, ‘local’ and ‘interlocal’ artists is sure to resonate and strike a chord with those interested in current artists practice and globalization.

The gathering will be informal, timetables flexible. Images, texts etc will appear on a internet site and a chaired discussion will be available as a podcast.

This is the first installment of AON ÁIT ANSEO/ANYWHERE HERE. It is anticipated that this gathering will become an annual event.

The Courthouse Studio Project is supported by the Kerry County Council.

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IXTLAN STOP
Her work is a restructuring of a mysterious event that unfolds in a dreamlike manner, the way a mystery novel develops as the investigator patches together the pieces of evidence found.

1. The Story

“I think the best way to describe my work is that I am inspired by things that peak my ‘interest’. Therein lies the back story and the evidence behind these unsolved mysteries.” -Among the artist notes

The above statement is artist Yoon-Young Park’s self-professed central idea surrounding her work. And it is true that Park is drawn by events that stir her curiosity which in turn lead her to conduct her own set of research to get to the bottom of it. The Pickton murder, the Virginia Tech Shooting, the Logheed Highway incident, the Riverview Mental Hospital, Vancouver’s downtown east side, Martin Luther King Jr., the Mt. Baker, Exxon Valdez oil spill, etc. were all events and cases that peaked Park’s interest. Park’s work is researching the evidence found in these cases, so as to reach her own interpretation of what had happened. Not only does she explore a variety of media to find such evidence, she even goes as far as to visit those very locations where the mysterious events took place. Park went to the actual location of the Pickton farm where the serial murders took place, making a video of her visit there. Not only that, she recorded her visit to the Riverview Mental Hospital on her own camcorder as well as to Vancouver’s downtown east side where she interviewed the homeless. Such discoveries of evidence surrounding existing cases and their scenery get complicated and mixed up within the context of Yoon-Young Park’s own story in a dreamlike manner. Her stories are her work.

The following three cases were used as motifs for the pieces that are being shown in the current exhibition:

The Pickton Farm serial murder case, Canada: A shocking murder takes place in a pig farm owned by a man named William Pickton in Vancouver, Canada, a beautiful place which is often considered heaven on earth. A total of 69 women either were killed or went missing, with many of the missing women’s DNAs found in the farm’s pig feed, etc.. A series of surreal and unbelievable events had taken place at the Pickton farm.

Exxon Valdez Oil Spill: In 1989, an Exxon Valdez supertanker was crossing the ocean nearby Alaska when an error by the captain led the ship to run aground causing an oil spill of some 11 million gallons of gasoline. The spill caused the worst environmental disaster in the history of the United States and hundreds of thousands of ocean creatures were killed as a result. Today, almost 20 years later, the ocean has yet to fully recover from the disaster.

Martin Luther King Jr. murder case: On April 4th, 6pm in 1968, while standing on the balcony of his motel, Martin Luther King Jr. was shot. He was shot by 30-06 Remington rifle. James Earl Ray was arrested for this case and sentenced to ninety-nine years in prison.

Yoon-Young Park’s works draw from such incidents and she presents the various pieces of evidence she finds in her work, especially in a special space she calls Ixtlan, where Park rearranges the details of the events to tell a brand new story. The story that Park tells is a completely different kind than that which we read or hear through the media.

For this exhibition, Park has completed two full mystery novels. One is the story she wrote while preparing for “Pickton Lake” entitled The Blue Pillar that Appears for a Moment, then Disappears and the other is The Dark and Unlit Logheed Highway. Both novels are fantasy pieces which include her own experiences in the setting, i.e. place, characters, as well as various imagined elements. Her stories are dreamlike and mysterious in that she combines elements of events from the above incidents with other mysterious objects and characters. On one level, her novels are her installation pieces, only in a different form, the only difference being that the materials are words and that the words are the various pieces of the installation.

2. The Space

“IXTLAN is the space you can reach right before death, after you have given up all your desires and the things that you love.”

-Among the artist notes

Ixtlan, the title of this exhibition, is a place that is described in Carlos Casteneda’s book “Journey to Ixtlan”. The Ixtlan that Casteneda describes in his book is an imaginary space that is somehow connected to the real world, but can only be reached after having given up all of one’s worldly desires and loves etc.. Casteneda describes three types of plants that help one to reach Ixtlan, namely peyote (a kind of cactus), jimson weed (white datura stramonium), and psilocybe (a hallucinogenic mushroom). These plants are natural plant substances which cause a kind of hallucination.

In this exhibition, Yoon-Young Park has in a way re-imagined the place of Ixtlan into a place where violence, murder, disasters etc. are non-existent, in other words, a place where such unfortunate events can be prevented from happening.

The various incidents and cases that have interested Yoon-Young Park, such as the Virginia Tech shooting, the murder of Rev. Martin Luther King Jr., the Pickton serial murders etc., are here re-presented and restructured in ‘Downtwon Eastside’. The physical ‘triggers’ involved in these incidents were the gun that was used in the murder of Rev. Martin Luther King Jr., the Exxon Valdez supertanker itself and the Walther P22 used in Cho, Seung Hee’s Virginia Tech shooting. Park sketches these three objects on the surface of a screen then uses these parts to create an equipment made to prevent tragic acts and/or incidents from taking place. The above-mentioned three hallucinogenic plants, i.e. peyote, jimsonweed and psilocybe, are then drawn over the equipment, growing all around it. The three plants in nature cover and therefore prevent these equipment from enacting the kinds of tragic events that they do, and by doing so, Ixtlan is imagined as a place where life and death have come to a stop, i.e. a new place with the potential for a new life and healing. In conclusion, Ixtlan Stop is a place where all the tragedies created by man’s desires and selfishness, are healed by the cleansing power of nature.

3. The Story within the Space

Reading and understanding the stories within Yoon-Young Park’s space of Ixtlan is an indispensable aspect of experiencing Park’s work.

Investigators, on the site of a crime, look around for pieces of evidence which, when put together, help them to come up with a believable story of what may have taken place. And as such, Yoon-Young Park’s exhibition invites us to participate in experiencing the space of Ixtlan where she has re-structured the ‘crime scene’ so to speak.

So what are the stories within Yoon-Young Park’s space? Park approaches the question of life and death and the vague separation between them by comparing the real against the surreal, past against the present, reality against the world of dreams etc.. The artist presents such a blurred and mysterious border between life and death in her depiction of ‘Downtown Eastside’, a mysterious looking installation piece made of a white screen, a large-scale mirror and bright orange paint. The mirror placed below the screen and the large pipe placed over the screen seems to make reference to the act of inhaling the smoke from the use of drugs. The pipe is a symbol of the straw used to inhale cocaine and the sheep skin and screen are also the drug itself. The mirror and the newspaper is each the mirror and razor (tools used in the process of measuring the amount of cocaine in preparation for inhalation). Within such a setting, Park casts the victims of the Pickton case as women living in New York’s downtown eastside and connects the two events by depicting the women as inhaling the drugs. Here, Park juxtaposes death and the act of inhaling drugs while simultaneously exhibiting the correlation between the two, as well as revealing the dream-like state brought on by the drugs.

Since the beginning of her career, Yoon-Young Park has always explored death and the disappearance of people upon death, about all those that die and the naturalness of it, even when it was caused by some other force. However, her obsession is not in death itself. Rather, Park is interested in that which causes death and the event of unexplained deaths. The deaths involved in those incidents that Park explores in her work are not simple incidences which occur as a result of some physical force or even by the tools that are used. These incidents are mired in mystery. Park takes these mysterious incidences and tries to understand and undo the mystery, either through her imagination or with the help of common sense and logic. The stories that Park unravels seem very personal and lyrical but these stories in the end ask the deep question of life and the common angst of living on earth.

We always tend to remain somewhere in-between. Whether it is the beginning or the end, getting on or off, matriculating or graduating, meeting or saying good-bye, and/or living or dying, etc. we are always somewhere in-between something that begins and will eventually end. Yoon-Young Park’s works too are located somewhere between as she searches for a certain world, place. Ixtlan stop or the Journey to Akeldama is all located in an in-between space, somewhere between the real and surreal, reality and imagination, etc., and where Park hopes to go might be a place where she dreams of, a place where bad things can self-heal, or the kind of world that Rev. Martin Luther King Jr. dreamed of, a place where the strong protects the weak. However, in the end, the place she is searching for is where nature brings unity.

Yoon-Young Park’s exhibition is a very special place, an opportunity to meet Park’s works in the midst of her long journey as an artist. Reading her stories in her work in an imagined space that is created by Park is sure to be a special occasion in our own journeys as well. After our meeting, we will all be on our own ways, but let us stop for a moment at Ixtlan Stop and read her works.

SoYoun Jeong was born in Seoul, Korea.
Since 2004, Jeong has been working and living in New York.
She is an artist working with mixed media. She has been working on video art, installation art, prints, sculpture, photograph and painting.

(From Jonathan Goodman’s essay “SoYoun Jeong: Between Fact and Fiction” for “Art Almighty ? SoYoun Jeong”.)
SoYoun Jeong is a contemporary artist educated both in Korea and New York.
Jeong has titled her show “Art Almighty,” imbuing her exhibition with a cosmic, if not necessarily pious, outlook. The proposals made by her work bring up interesting ideas, in which her predilection for an interface between nature and culture establishes mergers that feel highly contemporary.

In Uncanny Garden, her projection of video images onto two connected walls collapses the length of an entire day into an experience lasting only three and a half minutes. The real flowers inject reality into a fleeting demonstration of extended time. Jeong will transplant the survived blooms into the backyard of a friend from Brooklyn.
The conflict between artifice and reality is expressed as a screen projecting the sun’s illumination and an actual garden; however, the final experience is that of survival and transformation: those flowers that continue to exist are planted again in an outdoor field. The experiment is successful in that the process of life continues, even if damage has been done.

Crazy Moon, Jeong’s experimental single-channel video installation with four flat monitors, shows a moon dancing in a line or arc that defines itself in relation to the center created by the monitors’ display.
The moon on its travels creates many kinds of shapes, the result of its flight across the screen. The monitors approximate the sky, although in a thoroughly non-natural manner. Again we find the ideas of being and seeming beautifully implied in Jeong’s imagination; she attempts on a regular basis to join the poetic to the electronic.

In a third piece, Vice Versa, Jeong dizzyingly shifts from digital print to painting and back again. In two small double images, she begins by taking a photo that she then digitizes by scanning into the computer. Then she paints by hand over the print taken from the photo, at which point she scans the painting, printing the newly scanned image. The pictures themselves, striking abstractions composed of massed colors, are beautiful in their own right, but the complexity of their origins lends them a conceptual acuity that is very much of our time.

Jeong articulates a language which is not reductive but which, instead, synthesizes a union between that which is artificial and that which is genuine.
She looks to the future, combining means of expression that are not dialectically opposed but instead mutually supportive.

Jeong had had six solo shows and over one hundred shows. The latest solo show is “CTRL TIME: SoYoun Jeong” (Amelie A. Wallace Gallery, SUNY at Old Westbury, New York. 2007). Her works have been shown at the Museum of Contemporary Art, Shanghai, China, Samsung Leeum Museum, National Museum of Contemporary Art, Seoul, Korea, and Mori Art Museum, Tokyo. Japan, and others…

A reception for the opening will be held between 6pm and 8pm on Thursday, November 1st. The exhibition remains through Nov. 24, 2007. Gallery hours are Tuesday through Saturday between 11am and 6pm.

“UNVEILED PRESENCE (secret sounds 2)” will be presented at LAB30 media art festival in Augsburg/Germany.
In the sound installation »Unveiled presence« the »yelling and crying« sounds of the New York subway are processed. This very sustained and squeaking sounds can be even heard above the ground by the ventilation shafts in many places and therefore form an unmistakable component of the city soundscape. From recordings at different crosspoints of the underground rail system these sounds are worked out and arranged in a composition. www.bewernitzgoldowski.com
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25.-27. October 2007
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more info:www.lab30.de

ALSO:
“UNVEILED PRESENCE (secret sounds 1v)” is a virtual version of UNVEILED PRESENCE (secret sounds 1) and gives a preview about a future real life installation.
The work is part of an exhibition project “Second Art” initiated by “Stiftung Künstlerdorf Schöppingen”
and will be presented in First Life at Abtei Brauweiler on 13th October 2007 at 4pm

“UNVEILED PRESENCE (secret sounds 2)” will be presented at LAB30 media art festival in Augsburg/Germany.
In the sound installation »Unveiled presence« the »yelling and crying« sounds of the New York subway are processed. This very sustained and squeaking sounds can be even heard above the ground by the ventilation shafts in many places and therefore form an unmistakable component of the city soundscape. From recordings at different crosspoints of the underground rail system these sounds are worked out and arranged in a composition. www.bewernitzgoldowski.com
——————————————————————————————————————————————————————-
25.-27. October 2007
——————————————————————————————————————————————————————-
more info:www.lab30.de

ALSO:
“UNVEILED PRESENCE (secret sounds 1v)” is a virtual version of UNVEILED PRESENCE (secret sounds 1) and gives a preview about a future real life installation.
The work is part of an exhibition project “Second Art” initiated by “Stiftung Künstlerdorf Schöppingen”
and will be presented in First Life at Abtei Brauweiler on 13th October 2007 at 4pm

1.- Installation composed of a bird cage of 3,66 cubic meters, assembled by a poor craftsman family in the slum of Antananarivo, inside which thirty green parrots endemic to the island of Madagascar were placed. The accumulation of their droppings over a month (the duration of the exhibit) slowly drew a milky way of shit into a square of black paint on the ground. The title is inspired by “translation from the night” of Malagasy poet Jean-Joseph Rabearivelo.
This bilingual poem of Andrianjafy Rabekotroka (1961-1993), also, I think:

2.- Abreaction (Performance): Sort of succinct graffiti, the intervention is a poetic and cathartic work of vulgarization consisting in the traversing of a foreign public space with a single sentence of automatic writing. Abreaction, the work invites an exteriorisation of emotional tension, possible effect according to Aristotle of tragedy on the audience (Poetics, VI and VIII).

For the 11th Art Under the Bridge Festival, presented by Dumbo Arts Center, curator Felicity Hogan brings together two emerging New York artists, Duron Jackson and Rashaad Newsome, who are connected through their exploration of issues concerning the role of black identity within popular culture and current society. Using performance, installation, video and digital technology in their artistic practice, both artists harness the language of gesture, choreographing and directing male and female performers, to produce original, dynamic and innovative artworks.

Rashaad Newsome’s “Shade Compositions” is an ongoing performance series that, depending on the nature of the space, uses a variable number of black females who perform choreographed dismissive actions that are often characterized as “ghetto” in order to create an orchestra of rhythmic compositions. Using an instrument created with Max MSP technology, a crescendo of aggravated music is built up by the artist editing the beats created live by the girls, thus making each a one-of-a-kind performance.

Duron Jackson presents “Five Men,” a performance that examines the ongoing obsession and distortion of the black (non-European) body throughout contemporary culture. This work is an effort to visually distill (extract) the complexity of what it is to be alien within a western social paradigm while narrating a way of being. Life- sized impressions are taken directly from the male figure, yielding trace or evidence of a unique mark or symbol, which in turn places the unadorned male body in discourse with the social body.

Duron Jackson is a Brooklyn based multi – disciplinary artist whose recent solo exhibition “Revere/Riviled,” curated by Isolde Brielmaier, was held at the Rotunda Gallery in Brooklyn, 2007. Recent group shows include “I Died For Beauty,” curated by Omar Lopez-Chahoud, Newman Popiashvili, New York, 2007 and “Scarecrow,” curated by David Hunt, Postmasters Gallery, New York, 2006.

Originally from New Orleans, Rashaad Newsome lives and works in New York. “Shade Compositions” will be performed in 2008 as part of his residency at Location One and he will also be performing at The Kitchen in spring 2008. Later this year a video of the project is being made as part of the BCAT/Rotunda Gallery’s multimedia residency. Solo exhibitions include “Shade Compositions” at Glass Gallery in Paris, France and K.U.E.L., in Berlin, Germany, 2006. Newsome is currently sponsored by Harvestworks, NY.

For the 11th Art Under the Bridge Festival, presented by Dumbo Arts Center, curator Felicity Hogan brings together two emerging New York artists, Duron Jackson and Rashaad Newsome, who are connected through their exploration of issues concerning the role of black identity within popular culture and current society. Using performance, installation, video and digital technology in their artistic practice, both artists harness the language of gesture, choreographing and directing male and female performers, to produce original, dynamic and innovative artworks.

Rashaad Newsome’s “Shade Compositions” is an ongoing performance series that, depending on the nature of the space, uses a variable number of black females who perform choreographed dismissive actions that are often characterized as “ghetto” in order to create an orchestra of rhythmic compositions. Using an instrument created with Max MSP technology, a crescendo of aggravated music is built up by the artist editing the beats created live by the girls, thus making each a one-of-a-kind performance.

Duron Jackson presents “Five Men,” a performance that examines the ongoing obsession and distortion of the black (non-European) body throughout contemporary culture. This work is an effort to visually distill (extract) the complexity of what it is to be alien within a western social paradigm while narrating a way of being. Life- sized impressions are taken directly from the male figure, yielding trace or evidence of a unique mark or symbol, which in turn places the unadorned male body in discourse with the social body.

Duron Jackson is a Brooklyn based multi – disciplinary artist whose recent solo exhibition “Revere/Riviled,” curated by Isolde Brielmaier, was held at the Rotunda Gallery in Brooklyn, 2007. Recent group shows include “I Died For Beauty,” curated by Omar Lopez-Chahoud, Newman Popiashvili, New York, 2007 and “Scarecrow,” curated by David Hunt, Postmasters Gallery, New York, 2006.

Originally from New Orleans, Rashaad Newsome lives and works in New York. “Shade Compositions” will be performed in 2008 as part of his residency at Location One and he will also be performing at The Kitchen in spring 2008. Later this year a video of the project is being made as part of the BCAT/Rotunda Gallery’s multimedia residency. Solo exhibitions include “Shade Compositions” at Glass Gallery in Paris, France and K.U.E.L., in Berlin, Germany, 2006. Newsome is currently sponsored by Harvestworks, NY.

For the 11th Art Under the Bridge Festival, presented by Dumbo Arts Center, curator Felicity Hogan brings together two emerging New York artists, Duron Jackson and Rashaad Newsome, who are connected through their exploration of issues concerning the role of black identity within popular culture and current society. Using performance, installation, video and digital technology in their artistic practice, both artists harness the language of gesture, choreographing and directing male and female performers, to produce original, dynamic and innovative artworks.

Rashaad Newsome’s “Shade Compositions” is an ongoing performance series that, depending on the nature of the space, uses a variable number of black females who perform choreographed dismissive actions that are often characterized as “ghetto” in order to create an orchestra of rhythmic compositions. Using an instrument created with Max MSP technology, a crescendo of aggravated music is built up by the artist editing the beats created live by the girls, thus making each a one-of-a-kind performance.

Duron Jackson presents “Five Men,” a performance that examines the ongoing obsession and distortion of the black (non-European) body throughout contemporary culture. This work is an effort to visually distill (extract) the complexity of what it is to be alien within a western social paradigm while narrating a way of being. Life- sized impressions are taken directly from the male figure, yielding trace or evidence of a unique mark or symbol, which in turn places the unadorned male body in discourse with the social body.

Duron Jackson is a Brooklyn based multi – disciplinary artist whose recent solo exhibition “Revere/Riviled,” curated by Isolde Brielmaier, was held at the Rotunda Gallery in Brooklyn, 2007. Recent group shows include “I Died For Beauty,” curated by Omar Lopez-Chahoud, Newman Popiashvili, New York, 2007 and “Scarecrow,” curated by David Hunt, Postmasters Gallery, New York, 2006.

Originally from New Orleans, Rashaad Newsome lives and works in New York. “Shade Compositions” will be performed in 2008 as part of his residency at Location One and he will also be performing at The Kitchen in spring 2008. Later this year a video of the project is being made as part of the BCAT/Rotunda Gallery’s multimedia residency. Solo exhibitions include “Shade Compositions” at Glass Gallery in Paris, France and K.U.E.L., in Berlin, Germany, 2006. Newsome is currently sponsored by Harvestworks, NY.

]]>Geka Heinke at Berliner Kunstsalonhttp://www.location1.org/geka-heinke-at-berliner-kunstsalon/
Tue, 25 Sep 2007 21:07:08 +0000http://www.location1.org/geka-heinke-at-berliner-kunstsalon/28.9. – 2.10.,14-22 Uhr Stedefreund at Berliner Kunstsalon
For the 4th Berliner Kunstsalon, Geka Heinke has developed
a special exhibition architecture, in which all participants
of the gallery will present their works as a group show
in response to each other, the space and the context of the fair.
Three new artists Anne Gathmann, Nicole Degenhardt and Sinta Werner
will show their works for the first time.
www.berlinerkunstsalon.de

Gallery opening times
3 pm -7 pm every day except Sundays and holidays

The Fabio Paris Art Gallery is proud to present Night Talk of the Forbidden City #2, the first Italian solo exhibition of the collective Alterazioni Video, after the presentation of the video entitled Painting at the 52nd Venice Biennale (in the Italian Pavilion), Think with the Senses – Feel with the Mind. Art in the Present Tense (curated by Robert Storr) .

Night Talk of the Forbidden City # 2 presents the latest developments in the original project of the same name, which was shown for the first time at the DDM Warehouse Gallery in Shanghai in April 2007.
During their time in China, Alterazioni Video explored the topic of language, and the possible outcomes of the agreements between multinational communications companies and the state censorship system.
The various “cells” of Alterazioni Video networked on a local basis using an anonymizer (a tool which guarantees anonymity while surfing), which enabled them to draw up a list of words and phrases prohibited on the main search engines and instant messenger programmes in use in China, with the aim of working out the semantic basis behind these filters.
Alterazioni Video then put these terms back “into circulation”, by printing the offending phrases on plastic bags, in English and Chinese, and handing them out free of charge on the streets of Shanghai, with the intention of restoring their full communicative potential. The exhibition includes a number of photos depicting this part of the project.
The encounter between Alterazioni Video and Alighiero Boetti’s work on linguistic codes and signs stimulated a more intellectually sophisticated project, “encrypting” its message on a literal and metaphoric level. Based on the idea that censorship has always driven linguistic evolution, Alterazioni Video utilized Boetti’s work as a medium, a coding system which the art world was already familiar with, and which could therefore be used to convey this new message.
The result is Timbri, ideograms etched onto printing stones which can be assembled in a grid, forming endlessly reproducing matrixes, and Tappeti, multi-colored combinations of symbols embroidered on canvas.
Boetti’s tapestries and drawings often require a key to decode them. Alterazioni Video noticed the similarities between Boetti’s modules (like the one which appears in Alternando da uno a cento e viceversa, 1977) and QRCODE tags (matrix codes used in the car industry that can be photographed and decoded via mobile phone), and set about creating a new series of tapestries which convey information about Chinese activists and political refugees. By photographing these tapestries and sending them by smartphone to a specific online decodifier, you can access this information and use it to contact the people in question if need be, and pledge support for their cause. And in this way, by means of a complex process of encoding and decoding, the censored information can be restored to the intangible flow of communications on the net, while art and language return to play a social, as well as aesthetic role.

Established in Milan in 2004, Alterazioni Video is a collective of five artists (Paololuca Barbieri Marchi, Andrea Masu, Alberto Caffarelli, Giacomo Porfiri and Matteo Erenbourg) based in Milan and New York. The collective acts as an international network, geographically dispersed and mobile, and focuses on issues of disinformation and the relations between truth and representation, legality and illegality, freedom and censorship, mingling art with political activism and utilizing all media: from painting to video, installations to internet. Since 2004 Alterazioni Video has taken part in international events like Disobedience (Kunst Behetanien Museum & Play Gallery, Berlin 2005) and Remote Control (MoCA, Shanghai 2007), with solo exhibitions in venues like Location One (New York, 2006) and the Chelsea Art Museum (New York, 2006).
fabioparisartgallery
via Alessandro Monti 13 – 25121 Brescia – tel. 030 3756139 – Skype: fabioparisbs
www.fabioparisartgallery.com

Rashaad’s videos, performances, sculptures, and photographs interrogate notions of cultural/ social signifiers as well as how they are formed. They also analyze the complexity of the desire for power and acceptance that is formative for those who are placed in a subaltern position. As Rashaad says “I feel that a large part of the process of identification, for one placed in this position, is folded into everyday life. I use things I see in everyday life in order to decipher this complex psychic structure”. Born in New Orleans, Rashaad received a B.A. in Art History at Tulane University before studying Film at Film Video Arts, New York. Recent awards include: 2007 – BCAT/Rotunda Gallery Joint Multimedia Residency, NYC; 2006 Franklin Furnace grant for Performance Art, NYC; 2005/2006 – l’Entreprise Culturelle Artist in Residence, Paris. Recent exhibitions include: K.U.E.L., Berlin; Glassbox Gallery, Paris; Rush Arts Gallery, NYC; Fondation Cartier, Paris; The Contemporary Arts Center, New Orleans.

The 22 artists featured in “Ceci n’est pas…” chronicle every tawdry aspect of the gallery scene with wit, irony and—occasionally—sycophantic adoration. Laura Parnes’s videos reenact the discomforts of a first studio visit, for instance, while Jude Tallichet’s heart-shaped homages to male art stars like Jeff Koons and John Currin reinforce the objectification success can bring.

What happens when art and money meet? Alejandro Diaz addresses the marketing of all this work with advertisements for naked artist inside (in marker on cardboard) and unknown artists at unheard-of prices (in glowing red neon). Christopher Ho and Troy Richards establish a fictitious travel agency to offer their colleagues luxury vacations: “Parisian and Provençal gastronomic adventure for Rirkrit Tiravanija”; “Dubai million-dollar shopping spree for Barbara Kruger.” No one offers an easy fix.

Humor helps to mediate their uncomfortable closeness to their topic, although—both intentionally and not—many jokes fall flat. Pablo Helguera’s Artist Tip #7 offers advice on the proper response to a friend’s exhibition. The lightness of his approach can’t temper the anxiety he’s addressing; it only highlights the difficulties of criticizing an institution to which one wants desperately to belong.“Ceci n’est pas…” may not have all the answers, but it is an ambitious strike at a difficult question: How is contemporary art practice influenced by its shifting socioeconomic milieu? The show’s achievement lies in exploring that puzzle without resorting to institutional critique or falling back on pure cynicism.— Nuit Banai

Location One’s performance program features complex multi-disciplinary productions, often based on ideas that emerge during residencies and are commissioned for further development and presentation.

Abramović Studio

In September 2009 Marina Abramović inaugurated the Abramović Studio at Location One. The studio, curated by Jovana Stokić, introduced artists from Location One to other artists working in the field of performance and performance art. To see some of the events, including interviews with guest artists, check out the Abramović Studio Page >>

Past commissioned performance events have included:

May 7, 2009
Janez Jansa at Location One will take you through a series of artistic, political, administrative and media actions performed by himself together with Janez Jansa and Janez Jansa with a particular focus on their latest personal exhibition entitled NAME Readymade.

May 1, 2009

Open Call is a project organized by Brina Thurston, currently in residency at Location One, NYC. All submissions will be due by April 20, 2009 and will be presented and juried by a select group of artists, curators and critics in front of a live audience at Location One May 1, 2009.

January 9, 2009

The second night in a series of performances responding and reacting to BEHAVIOR, the current exhibition by Nayland Blake. At 6pm Blake will reenact his notorious performance, “Gorge,” a one-hour event in which the artist will sit shirtless in front of a table full of food from which the audience is encouraged to feed him.

December 17, 2008
During the course of the exhibition, Blake will also curate two more evenings of performances, January 9 and February 7. Each night he will invite five artists, musicians, and authors to react to his work.

June 25, 2008
A video screening of Hapless, Helpless and Hopeless, by Rob Kennedy and Peter Dowling, 2008, (34 mins), with film screenings of Secondary Currents (1983, 17 mins) and The Gift (1994, 6 mins), by Peter Rose plus spoken texts, sounds and other paraphernaliaA screening/talk/reading presented by Rob Kennedy and Peter Rose concerning the absurdities, problems and possibilities of language, as affected by image, text, time, sense and nonsense.

May 2, 2008
2×2 brings together two poet/musician duos in a night of New Poetry, Old School style New Randy is poet Holly Anderson and musician Lisa B. Burns. Bob Holman, proprietor of the Bowery Poetry Club, collaborates with musician Vito Ricci.

September 7 – October 1, 2005
15 artists spend seven days at Location One working intensely and in restricted conditions to produce wearable creations with only the tools and materials provided to them. A cross between art and fashion, the project temporarily removes the gallery from the appointed function of “showing” and moves it to the world of artistic production, raising questions about the circumstances, both physical and mental, of the creative process.

Music:

Location One is pleased that our long-term association and sometime-artistic collaboration with Roulette has solidified into a formal affiliation. Roulette’s new permanent home is in our 20 Greene Street space. The calendar of music events is dense with the most innovative composers and performers and can be viewed at Roulette.

PLUS, Current Location One members have the privilege of attending Roulette concerts FREE! Please make reservations with Roulette at 212-219-8242.

]]>http://www.location1.org/performance/feed/0MAIN GALLERY EXHIBITIONShttp://www.location1.org/exhibitions/
http://www.location1.org/exhibitions/#respondTue, 05 Jun 2007 21:21:52 +0000http://test.location1.org/exhibitions/We exhibit artists’ work in our main gallery eleven months a year, and often in our two other public spaces as well. All of the work we exhibit is developed at Location One, much of it by artists in our residency program. While Location One seeks to nurture a critical awareness of the implications of technology for contemporary society in both our artists-in-residence and our audiences, and on a practical level, to introduce artists to the possibilities of new media in their art practice, the work we exhibit covers a full spectrum: painting, sculpture, video, digital, audio, installation and performance. It is the convergence of artists working in all these areas which is of paramount interest to us. We believe that collaborations across multiple disciplines, and conversations from many perspectives, produce rich insights and raise critical questions.

SELECTED PAST EXHIBITIONS:

Location One and Quinndustry present Icons And Relics, a prelude to Fashion Week in the form of a theatrical fashion adventure spotlighting the 2013 Fall/Winter collection of renowned designer David Quinn. Here fashion, theater, and dance are intertwined by Quinn’s nimble wit to form a multidisciplinary work of PerformanceFashionArt.

What happens to the body of the artist in the aftermath of the performance? This query is at the core of the sculptures, videos, and photographs by Belgrade-born artist Marta Jovanovic. Much has been said about the difficulty of preserving performance, an ephemeral medium that resists being transformed into a lasting and permanent form. But what about the performer’s body: Can it be suspended in time forever? Can we prevent its aging and ultimately decaying or delay its inevitable mortality?

December 15 to January 5, 2012.
Presented by Luce Cinecittà and Gucci.
The exhibition “Pier Paolo Pasolini, Portraits and Self Portraits” brings together 40 works of visual art – drawings and paintings – by Pasolini, including portraits of Maria Callas, Ninetto Davoli (interpreter of many of his films), Roberto Longhi (professor of art at the University of Bologna, whose passionate lectures deeply influenced and formed Pasolini as a student) and figures of everyday life. The selection includes rarely seen self-portraits on oil and faesite and newly restored drawings. “Portrait of a man”, will be unveiled for the first time, after a careful restoration by the staff of the Gabinetto G.P. Vieusseux, sponsored by Luce Cinecittà.

The greatest dancers and performance artists of our time—Laurie Anderson, Mikhail Baryshnikov, Joan Jonas, Robert Wilson and others—perform their signature movements and are captured as floating holograms, which members of the audience can interact and perform with. This new technology will redefine the ways in which we access, record and experience dance and performance. This is the first ever interactive performance holography exhibition, premiering September 12th at Location One.

“Phosphene Variations” will premiere at Location One September 12th, featuring a holographic participation by Jiří Kylián, live and holographic performances by Frances Wessells, and Leslie Kraus, and an introductory context statement by Kate Valk of the Wooster Group. The exhibition will also include weekly performances by dance legends, as well as up-and-coming artists, throughout the duration of the exhibition. Somma will “perform” with the artists using his revolutionary video techniques, exploring the undiscovered edge between visual and performance art, as it uses performance as the well-spring for independent visual content.

7 March – 6 May 2012
Curated by Jay Brown
Shot in the highland villages of the Jade Dragon Naxi Autonomous
Prefecture of Lijiang, Yunnan, China in 2006 and 2007, this composite of video, sound,
and still images chronicles the encounters of the Manchurian video artist Na Yingyu among the Naxi
people in the sandy pines at the foothills of the Himalaya. This area of the world hosts a richness
of land, family, music, ritual and the natural beauty that someone in the video describes as
“home”. The massive new video installation, consisting of of 59 video “chapters” is arranged as
constellations in a starry night sky.

11 January – 15 February 2012
Location One is proud to present One and Many, a group show featuring works by Monica Baptista, Jacob Dahl Jürgensen, Atsushi Kaga, Agnieszka Kurant, David Molander, and Hiraku Suzuki. These artists engage a variety of mediums, from digital film and photography to the traditional art of sewing, transforming one piece into many as they channel possible meta-narratives in their work.

29 October – 23 December 2011
Through photographs. sculpture, video, song, costume and performance, Cuenca explores the fragile structure of political hegemony and patriarchal domination. Her premise: When sexuality is repressed, new constructions of gender develop.The title refers both to the long-haired dog breed (the artist uses hair in extreme exaggeration throughout the work) and to Afghanistan (the male-dominated culture from which her characters are drawn).

The gallery space is transformed with floor-to-ceiling cardboard tubes, a large hand-painted mural, a series of drawings, and a huge papier-mâché structure, creating the sense of a forest that the viewer is invited to explore. This imaginary landscape—in which bizarre and unfamiliar narratives seem to unfold before the viewer’s eyes—is loosely inspired by an earlier drawing by O’Connell, Like a Shark in the Grass (2009), which depicts a ghostly white shark uncannily drifting inside a forest.

In the exhibition “Giving My Back to the Night I Heard You Lying to a Giant (First Giant)” Davide Balliano uses the myth of Ulysses blinding the Cyclops Polyphemus as a starting point for his representation of the five phases of sleep which he calls the “ancestral fight against the obscure void that blinds us every night”.

Location One is proud to present SHARON STONE IN ABUJA an exhibition conceived by Zina Saro-Wiwa, British-Nigerian film-maker and founder of AfricaLab, an organisation dedicated to re-imagining Africa. Includes work by Saro-Wiwa, Pieter Hugo, Wangechi Mutu, Mickalene Thomas, and Andrew Esiebo.

16 September – 16 October, 2010Experimental new work from acclaimed Turner Prize finalist.
Location One is proud to present important new work in 16mm film and sculpture from Lucy Skaer, the young Scottish artist shortlisted for the 2009 Turner Prize and recently featured at the Venice Biennale and the Berlin Biennial
Artist Talk: Friday, Sept 24, 2010, 7pm
with Chrissie Iles, Anne and Joel Ehrenkranz Curator, Whitney Museum

20 May – 31 July 2010
The piece that gives the exhibition its title-a light box including a sound installation- comes from his experience as an Iraqi traveling in the U.S. In one of his trips, Abidin encountered people from diverse social backgrounds. Yet, surprisingly, every time he mentioned his nationality, the answer was invariably the same: I’m Sorry. Of course, this reply comes as a double entendre: Are people sorry for themselves, for feeling guilty for the infringements imposed by the U.S. on Iraq during the war, or are they sorry for the artist’s fate of being born in such place? The shift of position between audience and self is constantly present in his work.

20 March – 8 May 2010
Drawing is an underlying practice and ongoing concern that Jonas has pursued
throughout her life. All of Jonas’s performance drawings retain a working relationship to her individual video and installation projects. For Jonas, drawings can be lasting and autonomous objects or they may be ephemeral and destroyed during a performance.

14 Jan – 6 Mar 2010
Yes, But…explores works that dwell in the borderline between real and fictional, process-based and result-oriented, temporal and permanent, literal and metaphorical, orderly and undisciplined. Within the fabric of these works lies an array of artistic choices that emphasize contradictions and ambiguities, playing games upon the viewer at every turn.

Brisbane-based Richard Bell is one of Australia’s most talked-about artists. Bell’s works address–and protest–the commodification of indigeneity in the western art market. They draw attention to frustrations and grievances brought about through the European colonization of Australia. His paintings play with the practice of appropriation, often mining the Pop Art styles of Roy Lichtenstein and Jasper Johns, the paint drips of Jackson Pollock, or the dot matrix style of Aboriginal painter Emily Kngwarreye while including texts that complicate the way we think about racism and race politics.

9 Sept – 30 Oct 2009
Location One Virtual Residency Project 2.0: “Levels of Undo” Four artists from 4 different cities, who have never met–and were forbidden to do so during the three months of their “residency”–collaborate on a topic that they had no say in developing. Is this ethical? Are the parameters unnecessarily rigid? Were they able to produce anything worthwhile under such oddly stringent rules?

Shawcross is known for his multi-media, kinetic sculptures and mysterious structures that are imbued with an appearance of scientific rationality yet beneath the surface are also haunted by the search for the unobtainable and inexpressible. In this new work the artist continues the series of investigations that started with Slow Arc Inside a Cube (2008), which was initially inspired by the late British chemist Dorothy Hodgkin, who said deciphering the structure of pig insulin ‘was like trying to work out the structure of a tree from seeing only its shadow’.

28 Apr – 9 May 2009
Location One is pleased to present the first of its summer 2009 International Residency Program Exhibitions featuring the work of two outstanding emerging artists, Nicolas Grospierre (Poland) and Kaeko Mizukoshi (Japan). Artist Grospierre will present a photographic installation exploring the intricacies of NYC bank vaults, well timed in light of the global financial crisis. Artist Mizukoshi presents a video installation ste at a Los Angeles bus stop and focused on the dialog between a man, who rants indecipherably, and an awaiting passenger who responds with unrelated religious exclamations.

5 March – 2 May 2009
Fostered by the experimental art scene of downtown New York in the early 1970s, Laurie Anderson created her earliest performances in Soho, where Location One is based. In addition to continuing her acclaimed performance work, she has gone on to broaden her artistic practice to include music, video, digital art, and sculpture. Her Location One installation features a duet of video and sound.Location One will organize its inaugural Benefit Gala in celebration of its 10th Anniversary on Thursday, March 5, 2009. Honoring Laurie Anderson and her contributions to the downtown New York art world and beyond, the gala will feature a preview of the exhibition and a special performance that the artist will reveal.

2 Dec 2008 – 14 Feb 2009
With a surprising dearth of bunnies, Nayland Blake’s: Behavior, a 25-year survey of the renowned artist’s work, will feature some thirty pieces from every aspect of Blake’s career as a painter, sculptor, illustrator, performer, and gorgeinstallation artist. They include the iconic Magic (1991), Heavenly Bunny Suit (1994), a restraint piece, Jim (2000), as well as a generous selection of works never before exhibited in NYC. Nayland Blake: Behavior will be accompanied by a magiccatalogue, as well as by a series of artist-curated performance nights, one of which will include a re-staging of Blake’s “Gorge” (1998).

10 Sept – 8 Nov 2008PULL confronts an America seemingly crippled by fear and uncertainty. Developed in collaboration with 18 engineers from Honeywell’s Fire Systems Group, PULL urges viewers to realize their hidden desire to sound the alarm, here in the form of an historic fire call box situated in the center of the gallery space. Once triggered, the work blossomsinto a flourish of lights, words and deafening sirens–a wake up call. Philbrick utilizes 502 fire alarms, strobes, smoke detectors, siren horns, control panels–and one customized vintage fire pull station to sound the alarm and remind us to question our notions of security and it’s sources.

10 Sept – 8 Nov 2008
Can three complete strangers – from different continents, cultures and creative disciplines – collaborate from afar to create a forceful artistic statement about a political event? They can, they have! Their work, prepared without ever meeting face-to-face, uses Google Earth, Second Life, wikis and blog technologies – not to mention old-fashioned hand-printed Agitprop posters – to address the forthcoming U.S. Presidential election. The three artists all speak English, and all are fluent in Internet media. They were given no restrictions other than not meeting in person, and no directions other than the topic of the forthcoming Presidential election. Heather Wagner, director of online exhibitions, coordinated the project for Location One.Mission Accomplished?The chosen three: Susanne Berkenheger (Berlin), Andy Deck(NYC), and Hidenori Watanave (Tokyo)

19 Jun – 26 Jul 2008
Conceived as a site-specific installation, And we move continues Jean Shin’s investigation into the nature of music and its production. The installation utilizes the display of clothing, a video projection on fabric, unwound audio tape, embroidery, and compositional scores on prints, to explore how music is visualized and expressed through movement of the body, and how sound can be imprinted onto a surface.

24 Apr – 14 Jun 2008Aoife’s interdisciplinary practice is shaped by recurrent themes of permutation, multiplicity, cultural paraphernalia and mass identification. She utilizes collage, found object and the reinterpretation of prefabricated forms to communicate new ideas and the mutability of image over context.

18 – 26 Apr 2008Nina Sobell pioneered the use of video, computers, and interactivity in art, as well as performance on the Web. Since 1969, when she first used video to document participants’ undirected interactions with her sculptures, she investigates the extent to which video enables her to manipulate the relation between time and space, and to create a vortex for human experience, in which the mediated event coincides with public experience, memory, and relationships.

26 Feb – 19 Apr 2008
Curated by Eric C. Shiner
Moffatt’s narrative films offer the viewer a penetrative gaze into the realities and implicit fantasies that subjugation based on race and gender churns out. In her dual role as cultural critic and maker of art, Moffatt combines hard-edged life experiences with the technologies of video and photography to seam together pastiche-like vignettes that open a window onto the lives of her characters, whether that be an Australian aborigine or an African-American woman.

28 Nov 2007 – 9 Feb 2008
Xu Tan’s work deals with the hidden motivations and intentions of individuals through a high-tech analysis of their vocabulary. “Searching with Keywords” is the New York leg of an ongoing project which the artist launched in 2005. The project will be unfolding simultaneously in Beijing, China, in Sittard, Holland, and in New York, through a website created specifically for this happening. Gallery audiences in New York will be invited to interact with the keywords, which are presented by means of four video projections and four computer stations equipped with laptops, video cameras, and Internet connections. The goal is to have gallery visitors pronounce the keywords as illustrated in drawings and video clips, to ask questions of the artist thorough an on-line forum and message board, and to leave comments. Their reactions and input will be immediately transmitted through the website to the other venues where the installation is present.

4 Oct – 17 Nov 2007
Location One presents the first New York exhibition by Afghan artist Lida Abdul whose work is rooted in the devastation of war and in a sublimation of healing. In her videos, Afghani ruins appear as images from a dreamscape-both real and surreal-steeped in forgotten histories and mystery.

6 – 26 Sept 2007
On September 26th, Location One was proud to give away three deeds to land on the moon. All you had to do to enter the contest and vie for a chance to own extra-planetary property was show up, draw an image of a moon model that had been installed in the gallery, and then hope the judges liked it! Next stop, NASA – to purchase a de-comissioned space shuttle of course!

13 Apr – 25 May 2007
Location One is pleased to present Virtual Minefield, an installation by Martha Rosler which features two elements: a burlesque of a minefield, as a reminder of current combat zones and as a metaphor of the world political situation, and a mockup of a “phrasealator”, a two-way speech-to-speech device developed by the Defense Department to provide a mechanical translation of set phrases in situations where personnel are unable to speak the local language.

13 Apr – 25 May 2007Location One is proud to present new work by the recipient of the 2006-07 Irish Fellowship award. Ms. Doyle’s practice is primarily concerned with picture making, specifically painting and its relationship to lens-based technologies. The artist manipulates the various media she employs in order to generate very particular effects, questioning the notion of representation and creating a metaphor of what we think we are seeing versus what we actually see or what is given to be seen.

21 Nov 2006 – 27 Jan 2007In the Sky was a multimedia installation, commissioned by Location One, and developed into an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms by populating the gallery with strands of metallic beads, a six-channel audio component and a video installation depicting repetitious images that speak to the weaving and unweaving of time and memory.

14 Sep – 4 Nov 2006
Curated by Pieranna Cavalchini, curator of contemporary art, Isabella Stewart Gardner Museum
A grand, three-channel moving image installation/projection (15 minute loop) by Cliff Evans. “Mount Weather” is a personal artifice assembled from ideas and images found across the socio-environment of the Internet. Its form is reminiscent of historic epics as represented in cinema and in grand panoramic paintings, while also mimicking the ubiquitous technology used for website banner advertisements.Catalog is available.Sponsored by Location One and the Peter Norton Family Foundation.

11 Apr – 20 May 2006
Debut solo show in New York of Polish artist whose work concerns cultural and political issues common to many national groups: the emotional ambivalence of women and nursing mothers, people’s views of the environment in which they live, the legacy of Communist practices in farming communities, as well as the practice and tradition of film itself. In all his work, the artist demonstrates an uncanny ability for capturing people’s circumstances on film and video. Installation sponsored by Location One and the Trust for Mutual Understanding.

7 Sep – 1 Oct 2005
Co-Curated by Claire Montgomery and Sebastien Sanz de Santamaria15 artists spent seven days at Location One working intensely and in restricted conditions to produce wearable creations with only the tools and materials provided to them. A cross between art and fashion, the project temporarily removed the gallery from the appointed function of “showing” and moved it to the world of artistic production, raising questions about the circumstances, both physical and mental, of the creative process. Participating artists: Ayah Bdeir, Jessie Cohan, Barry Doss, Stefany Anne Golberg, George Hudacko, Selma Karaca, Ryan Kennedy, Miranti Kisdarjono, Katherine Moriwaki, David Quinn, Chris Sanders, Davina Semo, and Wikiwikicorp, a collective that includes Jean Barberis, Aya Kakeda and Sebastien Sanz de Santamaria.Commissioned by Location One.

22 Sep 2004 – 26 Feb 2005
Rising out of the gallery floor and disappearing into the walls, two large-scale installations by MIT artist Chris Csikszentmihalyi explores two central technologies of our late industrial society: the airplane and the control panel, rehearsing our dependence on complex technologies and the vulnerability they engender. “Skin” was an aluminum cylinder, the fuselage of a Boeing 737 that emerges from the gallery floor, stopped in the act of flying. “Control” was composed of panels, roughly modeled on those used in Chernobyl, that wend their way through the gallery.Catalogue is available.Commissioned by Location One.

15 Dec 2004 – 29 Jan 2005
An installation by media artist Victoria Vesna, with nanoscience pioneer James Gimzewski. It consisted of a video projected onto a disk of sand, 8 feet in diameter. Visitors could touch the sand as images were projected in evolving scale from the molecular structure of a single grain of sand to the recognizable image of the complete mandala, and then back again. This coming together of art, science and technology is a modern interpretation of an ancient tradition that consecrates the planet and its inhabitants to bring about purification and healing. The sand mandala seen in this installation was created by Tibetan Buddhist monks from the Gaden Lhopa Khangtsen Monastery in India. Sound artist Anne Niemetz developed the soundscape derived from sounds recorded during the creative process of making the sand mandala.

30 Mar – 15 May 2004On View, a new work from the On Translation Series, conceived and shot in Japan, post-produced in New York at Location One, is about viewing, looking… waiting… as contemporary rituals. “On Translation”, a series of work begun in Helsinki in 1995, groups a set of thirty works reflecting on the concept of translation and interpretation from a perspective that encompasses cultural, linguistic, political and economic issues produced and presented in different contexts and mediums.

12 Sep – 30 Dec 2003
Curated by Nathalie Anglès
The first US solo installation by French artist Claude Closky. Television focused on the production of signs and systems that articulate the world in a society driven by consumerism. Television was a caricatured reflection of the web and television networks that questioned their rapid and continuous growth, regardless of the information they broadcast. Sponsored by Location One. This exhibition was made possible through the generous additional support of Étant donnés, The French-American Fund for Contemporary Art; Cultural Services of the French Embassy (US); and DICREAM-CNC, Ministère de la Culture et de la Communication, France.

3-23 Sep 2003
The New York debut exhibition and special performance reading by renowned Japanese poet Gozo Yoshimasu, recent recipient of the Purple Ribbon Award from the Japanese Government for his significant cultural contributions. “Poetic Spectrum” presented Yoshimasu’s photographs and copperplate calligraphies for the first time to a New York audience, and brought the legendary poet to New York to perform after a ten-year absence. Sponsored by Location One with generous support from The Japan Foundation.

9 Jul – 2 Aug 2003
Two new interactive works by Saoirse Higgins and Simon Schiessl addressing our concerns and fears in the world as we embrace technology and its powers, both good and bad. “Mechanism No. 1” is an interactive video projection examining the critical moments leading to war. “The Doom_Machine” takes a daily measure of how close we are to a possible end to the world via related sites on the Internet and a doom voting website.Sponsored by Location One.

10 Sep – 19 Oct 2002
Curated by Heather Wagner A group exhibition featuring works that explored the relationship of sound and light waves. Not merely illustrations of audio-visual synaesthesia, several of the pieces act literally as transducers, that is, devices that convert input energy of one form into output energy of another. Work exhibited by Atsushi Nishijima, Erwin Redl, Laurie Spiegel, and Heather Wagner.Sponsored by Location One.

29 May – 29 Jun 2002
Xu Tan’s debut solo exhibition in New York City. “Qing Hua Porcelain (Blue & White)” was a new video/sound installation in which Xu Tan explored the differences in American and Chinese cultural interpretations of what is “real” and what is “fake”. Although each culture distinguishes and classifies “real” from “fake”, neither clearly defines these terms.Commissioned by Location One.

10 Jan-2 Mar 2002
“White Balance (to think is to forget differences)” by Columbian artist François Bucher, is a meditation after 9-11 and an effort to uncover the geographies of power, the frontiers of privilege. It revisits this problem from different angles, creating short circuits of meaning which are hosted by improbable audiovisual matches. Media and internet footage is intermixed with images shot in downtown Manhattan before and after the September 11th attacks.Underwritten by Location One.Additional funding was provided by The New York City Media Arts Grant of The Jerome Foundation.

20 Sep – 28 Nov 2001
Exhibition by internationally celebrated artist Keith Sonnier comprised of six pieces that resulted from Sonnier’s investigations into the work of Nikola Tesla during the period 1990-1997.The Tesla series “captures” raw electricity in its most spectacular form by stringing copper wires and causing the current to flow and spark between them.Sponsored by Location One.

Collaboration in New Media Art:
Does collaboration constitute compromise, act as a catalyst, or infer complexity?

There has been much debate in recent times around collaboration in new media art practice. Amanda McDonald Crowley, Executive Director of EYEBEAM Art and Technology center in New York, will raise questions, deliberate on the issues and propose some answers:

Does collaboration necessitate compromise?

Does it mirror the practice of artists working in this field?

Are new media practitioners even artists?

What is the role of the curator in a collaborative cultural endeavor?

Amanda McDonald Crowley is the Executive Director of Eyebeam art and technology center in New York. In 2005 Amanda relocated from her native Australia where she had been based while working nationally, as well as in Europe and Asia, as an arts producer, facilitator, researcher and curator specializing in creating new media and contemporary art programs that encourage cross disciplinary practice, collaboration and exchange. Positions she has held include serving served as the Executive Producer of the 2004 International Symposium of Electronic Art (ISEA2004), developing the event from concept to major conferences, exhibitions, performances, concerts and site specific installations on a ferry in the Baltic Sea and locations in Estonia and Finland; Associate Director for Adelaide Festival 2002; and Director of the Australian Network for Art and Technology (ANAT), an organization with a national brief to foster links between the arts, sciences and new technology.Eyebeam’s website >>

SELECTED PAST EXHIBITIONS:

July 8-31, 2009
In “Portraits,” American Artist-in-Residence Rudy Shepherd presents a series of recent works that challenge and transcend traditional notions of who and what is a worthy subject of high-art portraiture, e.g., criminals, anonymous Taliban members, black heroes, or houses.The painted portraits in Shepherd’s “Criminal/Victim” series from 2009 depict both perpetrators and victims of the same crime side-by-side, visually blurring the line between innocence and guilt. By presenting the people first and the stories second a space is created for humanity to be re-instilled into the lives of people who have been reduced to mere headlines by the popular press (e.g. Timothy McVeigh).

28 Apr – 9 May 2009
Location One is pleased to present the first of its summer 2009 International Residency Program Exhibitions featuring the work of two outstanding emerging artists, Nicolas Grospierre (Poland) and Kaeko Mizukoshi (Japan). Artist Grospierre will present a photographic installation exploring the intricacies of NYC bank vaults, well timed in light of the global financial crisis. Artist Mizukoshi presents a video installation ste at a Los Angeles bus stop and focused on the dialog between a man, who rants indecipherably, and an awaiting passenger who responds with unrelated religious exclamations.

June 25th, 2008
A video screening of Hapless, Helpless and Hopeless, by Rob Kennedy and Peter Dowling, 2008, (34 mins), with film screenings of Secondary Currents (1983, 17 mins) and The Gift (1994, 6 mins), by Peter Rose plus spoken texts, sounds and other paraphernaliaA screening/talk/reading presented by Rob Kennedy and Peter Rose concerning the absurdities, problems and possibilities of language, as affected by image, text, time, sense and nonsense.

June 19 – July 26 2008
Have pop culture and globalization co-opted the wonderfully expressive gestures of the black America female? This is the question that Rashaad Newsome explores in video and photography in Shade Compositions, one of two new works in an exhibition opening on Thursday June 19th at Location One.

June 4-18, 2008
Location One is pleased to present new work by Daniel Andersson (Finland) and by Tseng Yu-chin (Taiwan), participants of the International Residency Program this year. The exhibited work was made at Location One as part of their residency and features multi-layered ink photographs and drawings.

May 21, 2008Optical Handlers – eeyee is a new interactive media project that consists of an optical goggle device constructed by the artist, which splits the vision into four channels. Hold It! is an installation that creates a fantastical, sometimes hallucinatory vision of nature, the city and the artist’s studio. Visual play is generated by overlapping layers of drawings, ephemeral sculptures made of paper and cardboard, light wire objects, all constructed by Nobre in-situ.

April 18-April 30, 2008
Nina Sobell will install her studio in Location One’s Project Gallery, which includes recent wax
sculptures, drawings, keyboard, guitar and mic.
Visitors to the gallery will be able to engage in a dialogue with the artist about this work, and may bring their own instruments to improvise with her live on the web.

January 30th -February 9th, 2008
Hergenhahn’s installation will consist of a series of pencil drawings gathered from experiences of quotidian life, and a video projection and wall etching in the gallery. Santos plays with the architecture of the exhibition space to reflect on the particular conditions of being an artist temporarily displaced from her customary work space, while she also considers the evolution of her work in a hand-drawn map for a new website.

9th -19th January 2008
Central to Moira Ricci’s work is the world of the family home as the natural arena in which relationships are played out. Putting aside her own emotions, Ricci turns her personal narrative into fertile ground for thinking about the world we live in.

December 13-22, 2007
With “Draft“, Katia Kameli continues her investigation into key issues that drive her film, video and installation practice, namely the construction of intersecting identities in a globalized world, hybridization, the notion of intercultural spaces and awareness of psychogeographical effects.

June 2nd – July 28th, 2007
Location One presents the second IRP group show of the 2006-2007 season, featuring new work developed by our resident artists. The exhibition represents a diverse range of artistic approaches and many are works in progress.

April 13-May 25, 2007
Jeanette Doyle’s practice is primarily concerned with picture making. She is particularly interested in painting and its relationship to lens-based technologies. Her work is driven by conceptual concerns but is deeply engaged with the processes and mechanics of making, especially the production of images. Her works express a desire to crystalise complexity for a moment in an image which, on closer inspection, allows the fiction of coherence to dissolve. Disjunction between the image and text is a hint of this. This disjunction between word and image is a feature of the ‘StarLine Tours’ exhibition at Location One.

February 13-March 31st, 2007
Featuring: Natalie Bewernitz & Marek Goldowski, Teresa Henriques, Agnieszka Kalinowska,
Nina Katchadourian, Rie Kawakami, Alessandro Nassiri, Kaori Tazoe, Virginie Yassef
Location One presents the first of two exhibitions showcasing new work developed during their residencies by eight artists participating in the 2006-2007 International Residency Program. Featured works, some of which are exhibited as work-in-progress, represent a diverse range of artistic approaches.

November 21, 2006 – January 27, 2007
An opening reception and performance will be held on Wednesday, November 29th from 6 to 8 pm.
The multimedia installation, which was commissioned by Location One, is entitled In the Sky, is an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms.

June 1st – July 29th, 2006
Featuring: Leesa & Nicole Abahuni, Simo Alitalo, Andrew Duggan, Mayumi Nakazaki, Trine Nedreaas, Yuki Okumura, Lydia Venieri, Wang Ya-Hui.
On Thursday, June 1st, Location One opens its Summer exhibition, showcasing new work developed by resident artists from the USA, Finland, Ireland, The Netherlands, Norway, Japan, Greece, and Taiwan who are participating in the Location One 2005-2006 International Residency Program. The show will be open to the public through Saturday, July 29th, 2006.

Thursday, May 18, 2006 – 6:30-8:30pm
Location One presents ECHO, a collaborative project created by visual/media artist Andrew Duggan and dancers Jonathan Kelliher and Joanne Barry of Siamsa Tíre, the National Folk Theatre of Ireland. For one-night only traditional Irish dance will be transported from the South West coast of Ireland to Location One’s Gallery space in New York City. Impromptu street performances and filming will take place in NYC at undisclosed locations leading up to the event. The resulting project will be presented at Location One.

February 9th – March 4th, 2006
Featuring: Paololuca Barbieri, Isabelle Ferreira, Geka Heinke, Yoon-Young Park, Mariana Viegas.
On Thursday, February 9th, Location One presents the first of two Spring exhibitions showcasing new work developed by artists from Italy, France, Germany, Korea, and Portugal who are participating in the 2005-2006 International Residency Program. Featured works represent a diverse range of artistic approaches.

Wednesday February 15th – 7:00 PM
A concert-performance conceived as a one-night audio-video event. The project explores the relationship between light and sound, looking for the natural correspondence between these two elements, between visible and invisible, playing with their frequencies.

7 December 2005 – 4 February 2006
Location One is pleased to present Somnambulic, the first New York solo exhibition by Canadian artist Martin Beauregard. This new body of work highlights persistent themes for the artist revolving around the relation between dream, illusion, and reality. It also produces a “fantastical strangeness” that is characteristic of Beauregard’s work, as he explores modes of perception through play and creation.

June 4th – July 30th, 2005
Tent for Poet (2005) (multimedia installation with tent, furnishings, video & DVD) is a work dedicated by the artist to a poet living in New York. Citizen Firefighter (2001) (resin sculpture), was conceived primarily to celebrate the men and women of Strathclyde Brigade in Scotland. The driving force behind Wu Ta-Kun’s varied body of work is expanding “ideas of sensibility”. Landscape is an entity –or a body– which is transformed by our presence and which, in turn, transforms us.

April 28th – May 28th, 2005
Location One is pleased to present the second of three Spring exhibitions showcasing the work of artists participating in its 2004-2005 International Residency Program. The two installations by Canadian artist Martin Beauregard, and Polish artist Marlena Kudlicka were developed during their residencies at Location One.

March 18 – April 23, 2005
Artists-in-Residence Nayda Collazo-Llorens (USA) and Santeri Tuori (Finland) will present video installations in Location One’s main gallery. With special thanks to NYSCA (New York State Council on the Arts) and FRAME (Finnish Fund for Art Exchange)

Dec 15 2004 – Jan 29, 2005
Each video presents a singular character performing a simple action: a figure on a skateboard filmed from the back in a car, a young girl playing guitar on a traffic circle in the suburbs of Paris, a swimmer, a New York doorman as he progresses through the city at night.

July 8 – July 31, 2004PASSED for EXPORT, a site-specific installation by Mark Themann, raises questions about the American Landscape, the Constitution and the Bill of Rights in times of political crisis. Two videos of monumental US landscapes are projected in unnervingly slow and steady takes on opposite walls. Any potential romanticism is forestalled by the cacophonous clashing of two audio tracks in which the narrators are each reading from the Amendments to the Bill of Rights and the Constitution, reciting with an extreme stutter.

May 28 – June 30, 2004
Featuring:Koki Tanaka, Hsiao Sheng Chien, Mark Themann, Federico Muelas, Miguel Soares, Alexandra do Carmo, Vincent Lamouroux.
On Thursday, May 27, Location One presents its third annual artist-in-residence group exhibition. Eight works ranging from video, to sculpture, to robotic structures, to interactive installations were developed by emerging international artists during their stay. Featured in the main gallery, the show will be open to the public through Wednesday, June 30th, 2004.

January-February, 2004
These three works explore time, and our perception of time. For me, one of the most interesting qualities of video is that it is in reality only a collection of still images. At 30 video frames per second, any 10 seconds of fluid movement can alternately be considered as a static collection of 300 related still images. Working in the digital realm in a real-time manner, there are endless possibilies for instantly treating a new video recording as a library of stills, then deriving new material by analyzing or modifying this library: reordering entries, comparing similarity or difference between entries, deriving a single image from multiple entries, etc.

December 10-30, 2003
Casual Friday will consist of several layers, only one of which will be photographic. Audio interviews, drawings and writings will constitute the other layers.
Collaborator and architect Srdjan Weiss, will address these themes through drawings of the layout and contents of the “perfect” office. He will do so through drawings, and will integrate into his work research on the history of the subject building, as well as information related to the taste and design of the architects who originally worked on the building.

November-December, 2003
“Do androids dream of electric sheep?” – Philip K. Dick
Gustavo is a robot that has been discarded in a black garbage bag. Out of this bag extends Gustavo’s motorized arm, with a laser that is carving a drawing on the wall. Do robots dream of being artists?

July 9 – August 2, 2003
This is an interactive video projection examining the critical moments leading to war. The visitor winds* up the mechanical toy drummer boy with the brass key. The action of the drummer boy correlates to a projected video that shows bombs dropping from the sky. The sound of the bombs keeps exact beat with the drum. The tighter the mechanism is wound the faster the bombs will drop. The visitor controls frequency of the bombing. Where are these bombs being dropped? What are the consequences?

May 22, 2003-June 28, 2003
May 22, Location One, a not-for-profit multimedia arts organization, opened its second artist-in-residence group exhibition with multimedia work developed during their stay. Included artists: Daniel Blaufuks (Portugal), Isabelle Jenniches (The Netherlands), Dominik Lejman (Poland), Jiun-Ting Lin (Taiwan), and Javier Viver (Spain). This exhibition will be on view in Location One’s gallery through June 28, 2003 and will be streamed live on our website (www.location1.org).

September 10 – October 19, 2002
Location One is happy to present “Signal to Noise“, a group exhibition featuring works that explore the relationship of sound and light waves. Not merely illustrations of audio-visual synaesthesia, several of the pieces act literally as transducers, that is, devices that convert input energy of one form into output energy of another.

May 23rd – June 29th 2002
Xu Tan draws his inspiration from the teachings of philosopher Chuang-Tzu (circa 250 BC). Successor to Lao Tzu and a foremost proponent of Taoism, Chuang-Tzu presumed that no matter how alike two things are, a difference between them can always be found and, conversely, no matter how different two things are, one can find a similarity between them. Objective similarities and differences do not justify any particular way of distinguishing between things.

January 10 – March 2, 2002
White Balance (to think is to forget differences) is an effort to uncover the geographies of power, the frontiers of privilege. It revisits this problem from different angles, creating short circuits of meaning which are hosted by improbable audiovisual matches. Media and internet footage is intermixed with images shot in downtown Manhattan before and after the September 11th attacks.

December 8th – 29, 2001
“Sound does not exist without space and space is always filled with sound. Space represents sound as something visible, sound represents space as something audible. Our daily life is made of inevitable factors such as time and space. As for myself, that is a place where contemporary music exists.” –Atsushi Nishijima

June 9-July 28, 2001
Museum of Mankind is a video installation depicting the statues that stand high on the roof of the Museum of Mankind in London. In a multimedia installation and web site project, New Baby?, Marta Deskur questions the significance of family today and the conflicting issues this question addresses. Ksenija Turcic presents a new multimedia installation, Phase, where she pursues her investigation of emotional space.

March 22 – April 21, 2001
“Recorders is an installation where a rotating camera and video projector interact with the visitor in a game of shadows and projection, images and text, narration and space, focus and blur. A pre-recorded conversation acts as voice-over for the entire set-up which is encompassed by a large image that resembles something like bits of information, white noise or a glittery seascape.

SELECTED PAST EXHIBITIONS:

July 8-31, 2009
In “Portraits,” American Artist-in-Residence Rudy Shepherd presents a series of recent works that challenge and transcend traditional notions of who and what is a worthy subject of high-art portraiture, e.g., criminals, anonymous Taliban members, black heroes, or houses.The painted portraits in Shepherd’s “Criminal/Victim” series from 2009 depict both perpetrators and victims of the same crime side-by-side, visually blurring the line between innocence and guilt. By presenting the people first and the stories second a space is created for humanity to be re-instilled into the lives of people who have been reduced to mere headlines by the popular press (e.g. Timothy McVeigh).

28 Apr – 9 May 2009
Location One is pleased to present the first of its summer 2009 International Residency Program Exhibitions featuring the work of two outstanding emerging artists, Nicolas Grospierre (Poland) and Kaeko Mizukoshi (Japan). Artist Grospierre will present a photographic installation exploring the intricacies of NYC bank vaults, well timed in light of the global financial crisis. Artist Mizukoshi presents a video installation ste at a Los Angeles bus stop and focused on the dialog between a man, who rants indecipherably, and an awaiting passenger who responds with unrelated religious exclamations.

June 25th, 2008
A video screening of Hapless, Helpless and Hopeless, by Rob Kennedy and Peter Dowling, 2008, (34 mins), with film screenings of Secondary Currents (1983, 17 mins) and The Gift (1994, 6 mins), by Peter Rose plus spoken texts, sounds and other paraphernaliaA screening/talk/reading presented by Rob Kennedy and Peter Rose concerning the absurdities, problems and possibilities of language, as affected by image, text, time, sense and nonsense.

June 19 – July 26 2008
Have pop culture and globalization co-opted the wonderfully expressive gestures of the black America female? This is the question that Rashaad Newsome explores in video and photography in Shade Compositions, one of two new works in an exhibition opening on Thursday June 19th at Location One.

June 4-18, 2008
Location One is pleased to present new work by Daniel Andersson (Finland) and by Tseng Yu-chin (Taiwan), participants of the International Residency Program this year. The exhibited work was made at Location One as part of their residency and features multi-layered ink photographs and drawings.

May 21, 2008Optical Handlers – eeyee is a new interactive media project that consists of an optical goggle device constructed by the artist, which splits the vision into four channels. Hold It! is an installation that creates a fantastical, sometimes hallucinatory vision of nature, the city and the artist’s studio. Visual play is generated by overlapping layers of drawings, ephemeral sculptures made of paper and cardboard, light wire objects, all constructed by Nobre in-situ.

April 18-April 30, 2008
Nina Sobell will install her studio in Location One’s Project Gallery, which includes recent wax
sculptures, drawings, keyboard, guitar and mic.
Visitors to the gallery will be able to engage in a dialogue with the artist about this work, and may bring their own instruments to improvise with her live on the web.

January 30th -February 9th, 2008
Hergenhahn’s installation will consist of a series of pencil drawings gathered from experiences of quotidian life, and a video projection and wall etching in the gallery. Santos plays with the architecture of the exhibition space to reflect on the particular conditions of being an artist temporarily displaced from her customary work space, while she also considers the evolution of her work in a hand-drawn map for a new website.

9th -19th January 2008
Central to Moira Ricci’s work is the world of the family home as the natural arena in which relationships are played out. Putting aside her own emotions, Ricci turns her personal narrative into fertile ground for thinking about the world we live in.

December 13-22, 2007
With “Draft“, Katia Kameli continues her investigation into key issues that drive her film, video and installation practice, namely the construction of intersecting identities in a globalized world, hybridization, the notion of intercultural spaces and awareness of psychogeographical effects.

June 2nd – July 28th, 2007
Location One presents the second IRP group show of the 2006-2007 season, featuring new work developed by our resident artists. The exhibition represents a diverse range of artistic approaches and many are works in progress.

April 13-May 25, 2007
Jeanette Doyle’s practice is primarily concerned with picture making. She is particularly interested in painting and its relationship to lens-based technologies. Her work is driven by conceptual concerns but is deeply engaged with the processes and mechanics of making, especially the production of images. Her works express a desire to crystalise complexity for a moment in an image which, on closer inspection, allows the fiction of coherence to dissolve. Disjunction between the image and text is a hint of this. This disjunction between word and image is a feature of the ‘StarLine Tours’ exhibition at Location One.

February 13-March 31st, 2007
Featuring: Natalie Bewernitz & Marek Goldowski, Teresa Henriques, Agnieszka Kalinowska,
Nina Katchadourian, Rie Kawakami, Alessandro Nassiri, Kaori Tazoe, Virginie Yassef
Location One presents the first of two exhibitions showcasing new work developed during their residencies by eight artists participating in the 2006-2007 International Residency Program. Featured works, some of which are exhibited as work-in-progress, represent a diverse range of artistic approaches.

November 21, 2006 – January 27, 2007
An opening reception and performance will be held on Wednesday, November 29th from 6 to 8 pm.
The multimedia installation, which was commissioned by Location One, is entitled In the Sky, is an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms.

June 1st – July 29th, 2006
Featuring: Leesa & Nicole Abahuni, Simo Alitalo, Andrew Duggan, Mayumi Nakazaki, Trine Nedreaas, Yuki Okumura, Lydia Venieri, Wang Ya-Hui.
On Thursday, June 1st, Location One opens its Summer exhibition, showcasing new work developed by resident artists from the USA, Finland, Ireland, The Netherlands, Norway, Japan, Greece, and Taiwan who are participating in the Location One 2005-2006 International Residency Program. The show will be open to the public through Saturday, July 29th, 2006.

Thursday, May 18, 2006 – 6:30-8:30pm
Location One presents ECHO, a collaborative project created by visual/media artist Andrew Duggan and dancers Jonathan Kelliher and Joanne Barry of Siamsa Tíre, the National Folk Theatre of Ireland. For one-night only traditional Irish dance will be transported from the South West coast of Ireland to Location One’s Gallery space in New York City. Impromptu street performances and filming will take place in NYC at undisclosed locations leading up to the event. The resulting project will be presented at Location One.

February 9th – March 4th, 2006
Featuring: Paololuca Barbieri, Isabelle Ferreira, Geka Heinke, Yoon-Young Park, Mariana Viegas.
On Thursday, February 9th, Location One presents the first of two Spring exhibitions showcasing new work developed by artists from Italy, France, Germany, Korea, and Portugal who are participating in the 2005-2006 International Residency Program. Featured works represent a diverse range of artistic approaches.

Wednesday February 15th – 7:00 PM
A concert-performance conceived as a one-night audio-video event. The project explores the relationship between light and sound, looking for the natural correspondence between these two elements, between visible and invisible, playing with their frequencies.

7 December 2005 – 4 February 2006
Location One is pleased to present Somnambulic, the first New York solo exhibition by Canadian artist Martin Beauregard. This new body of work highlights persistent themes for the artist revolving around the relation between dream, illusion, and reality. It also produces a “fantastical strangeness” that is characteristic of Beauregard’s work, as he explores modes of perception through play and creation.

June 4th – July 30th, 2005
Tent for Poet (2005) (multimedia installation with tent, furnishings, video & DVD) is a work dedicated by the artist to a poet living in New York. Citizen Firefighter (2001) (resin sculpture), was conceived primarily to celebrate the men and women of Strathclyde Brigade in Scotland. The driving force behind Wu Ta-Kun’s varied body of work is expanding “ideas of sensibility”. Landscape is an entity –or a body– which is transformed by our presence and which, in turn, transforms us.

April 28th – May 28th, 2005
Location One is pleased to present the second of three Spring exhibitions showcasing the work of artists participating in its 2004-2005 International Residency Program. The two installations by Canadian artist Martin Beauregard, and Polish artist Marlena Kudlicka were developed during their residencies at Location One.

March 18 – April 23, 2005
Artists-in-Residence Nayda Collazo-Llorens (USA) and Santeri Tuori (Finland) will present video installations in Location One’s main gallery. With special thanks to NYSCA (New York State Council on the Arts) and FRAME (Finnish Fund for Art Exchange)

Dec 15 2004 – Jan 29, 2005
Each video presents a singular character performing a simple action: a figure on a skateboard filmed from the back in a car, a young girl playing guitar on a traffic circle in the suburbs of Paris, a swimmer, a New York doorman as he progresses through the city at night.

July 8 – July 31, 2004PASSED for EXPORT, a site-specific installation by Mark Themann, raises questions about the American Landscape, the Constitution and the Bill of Rights in times of political crisis. Two videos of monumental US landscapes are projected in unnervingly slow and steady takes on opposite walls. Any potential romanticism is forestalled by the cacophonous clashing of two audio tracks in which the narrators are each reading from the Amendments to the Bill of Rights and the Constitution, reciting with an extreme stutter.

May 28 – June 30, 2004
Featuring:Koki Tanaka, Hsiao Sheng Chien, Mark Themann, Federico Muelas, Miguel Soares, Alexandra do Carmo, Vincent Lamouroux.
On Thursday, May 27, Location One presents its third annual artist-in-residence group exhibition. Eight works ranging from video, to sculpture, to robotic structures, to interactive installations were developed by emerging international artists during their stay. Featured in the main gallery, the show will be open to the public through Wednesday, June 30th, 2004.

January-February, 2004
These three works explore time, and our perception of time. For me, one of the most interesting qualities of video is that it is in reality only a collection of still images. At 30 video frames per second, any 10 seconds of fluid movement can alternately be considered as a static collection of 300 related still images. Working in the digital realm in a real-time manner, there are endless possibilies for instantly treating a new video recording as a library of stills, then deriving new material by analyzing or modifying this library: reordering entries, comparing similarity or difference between entries, deriving a single image from multiple entries, etc.

December 10-30, 2003
Casual Friday will consist of several layers, only one of which will be photographic. Audio interviews, drawings and writings will constitute the other layers.
Collaborator and architect Srdjan Weiss, will address these themes through drawings of the layout and contents of the “perfect” office. He will do so through drawings, and will integrate into his work research on the history of the subject building, as well as information related to the taste and design of the architects who originally worked on the building.

November-December, 2003
“Do androids dream of electric sheep?” – Philip K. Dick
Gustavo is a robot that has been discarded in a black garbage bag. Out of this bag extends Gustavo’s motorized arm, with a laser that is carving a drawing on the wall. Do robots dream of being artists?

July 9 – August 2, 2003
This is an interactive video projection examining the critical moments leading to war. The visitor winds* up the mechanical toy drummer boy with the brass key. The action of the drummer boy correlates to a projected video that shows bombs dropping from the sky. The sound of the bombs keeps exact beat with the drum. The tighter the mechanism is wound the faster the bombs will drop. The visitor controls frequency of the bombing. Where are these bombs being dropped? What are the consequences?

May 22, 2003-June 28, 2003
May 22, Location One, a not-for-profit multimedia arts organization, opened its second artist-in-residence group exhibition with multimedia work developed during their stay. Included artists: Daniel Blaufuks (Portugal), Isabelle Jenniches (The Netherlands), Dominik Lejman (Poland), Jiun-Ting Lin (Taiwan), and Javier Viver (Spain). This exhibition will be on view in Location One’s gallery through June 28, 2003 and will be streamed live on our website (www.location1.org).

September 10 – October 19, 2002
Location One is happy to present “Signal to Noise“, a group exhibition featuring works that explore the relationship of sound and light waves. Not merely illustrations of audio-visual synaesthesia, several of the pieces act literally as transducers, that is, devices that convert input energy of one form into output energy of another.

May 23rd – June 29th 2002
Xu Tan draws his inspiration from the teachings of philosopher Chuang-Tzu (circa 250 BC). Successor to Lao Tzu and a foremost proponent of Taoism, Chuang-Tzu presumed that no matter how alike two things are, a difference between them can always be found and, conversely, no matter how different two things are, one can find a similarity between them. Objective similarities and differences do not justify any particular way of distinguishing between things.

January 10 – March 2, 2002
White Balance (to think is to forget differences) is an effort to uncover the geographies of power, the frontiers of privilege. It revisits this problem from different angles, creating short circuits of meaning which are hosted by improbable audiovisual matches. Media and internet footage is intermixed with images shot in downtown Manhattan before and after the September 11th attacks.

December 8th – 29, 2001
“Sound does not exist without space and space is always filled with sound. Space represents sound as something visible, sound represents space as something audible. Our daily life is made of inevitable factors such as time and space. As for myself, that is a place where contemporary music exists.” –Atsushi Nishijima

June 9-July 28, 2001
Museum of Mankind is a video installation depicting the statues that stand high on the roof of the Museum of Mankind in London. In a multimedia installation and web site project, New Baby?, Marta Deskur questions the significance of family today and the conflicting issues this question addresses. Ksenija Turcic presents a new multimedia installation, Phase, where she pursues her investigation of emotional space.

March 22 – April 21, 2001
“Recorders is an installation where a rotating camera and video projector interact with the visitor in a game of shadows and projection, images and text, narration and space, focus and blur. A pre-recorded conversation acts as voice-over for the entire set-up which is encompassed by a large image that resembles something like bits of information, white noise or a glittery seascape.

Senior Artist in Residence:

Carolee Schneemann

Transformed the definition of art, especially discourse on the body, sexuality, and gender. The history of her work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, the body of the artist in dynamic relationship with the social body. Painting, photography, performance art and installation works shown at Los Angeles Museum of Contemporary Art; Whitney Museum of American Art; Museum of Modern Art, NYC; Centre Georges Pompidou, Paris; and most recently in a retrospective at the New Museum of Contemporary Art in New York entitled “Up To And Including Her Limits”. Film and video retrospectives Centre Georges Pompidou, Paris; Museum of Modern Art, NY; National Film Theatre, London; Whitney Museum, NY; San Francisco Cinematheque; Anthology Film Archives, NYC. She has taught at many institutions including New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; Pollock-Krasner Foundation Grant (1997, 1998); 1993 Guggenheim Fellowship; Gottlieb Foundation Grant; National Endowment for the Arts Fellowship. Honorary Doctor of Fine Arts, Maine College of Art, Portland, ME. Lifetime Achievement Award, College Art Association.

International Fellows:

Lucy Skaer
Skaer was born in Cambridge and studied at the Glasgow School of Art. Much of her work consists of her interacting with, and changing, public spaces. In one piece, she took up a paving stone on Glasgow’s Buchanan Street and then had the Earl of Glasgow ceremoniously lay down a replacement, while in an Amsterdam-based piece, she left a diamond and a scorpion side-by-side on a pavement. She has also secretly hidden moth and butterfly pupae in criminal courts in the hope that they will hatch in mid-trial.
Skaer has also exhibited drawings and is a member of the Henry VIII’s Wives collective of artists.
In 2003, Skaer was shortlisted for the Beck’s Futures prize. She currently lives and works in Glasgow.
In 2008 Skaer was the subject of a mid-career retrospective at the Fruitmarket Gallery in Edinburgh, Scotland which included newly commissioned work. There was a comprehensive monograph published to accompany the show.
Her most recent major solo exhibition is ‘A Boat Used As A Vessel’, Kunsthalle Basel, Basel, Switzerland (April 2009 – June 2009).
Lucy Skaer is represented by doggerfisher, Edinburgh (www.doggerfisher.com)
In April 2009, she was shortlisted for the Turner Prize.

Richard Bell was born in 1953 in Charleville, Queensland, Australia, and is a member of the Kamilaroi, Kooma, Jiman and Gurang Gurang communities. Based in Brisbane, Bell has held numerous solo exhibitions since 1990. He is represented in major collections in Australia and New Zealand and is internationally recognized through numerous exhibitions, including the significant European touring exhibition Aratjara: Art of the First Australians, 1993; Culture Warriors, National Indigenous Art Triennial, National Gallery of Australia, 2007; the 9th and 16th Sydney Biennales, 1992 and 2008; Australian Perspecta 1993, Art Gallery of New South Wales, and the Unfamiliar Territory, Adelaide Biennial of Australian Art in 1991. His work was the subject of the survey exhibition Positivity, presented by the Institute of Modern Art, Brisbane, in 2006. He won the National Telstra Aboriginal and Torres Strait Islander Art Award in 2003. A past member of the Campfire group, Bell is a founding member of proppaNOW, the Brisbane-based Aboriginal artists collective. He is represented by Milani Gallery, Brisbane, Australia.

International Residents

Adel Abidin
Adel Abidin was born in 1973 in Baghdad, Iraq, where he studied painting at the Academy of Fine Arts before moving to Helsinki, Finland in 2001 to pursue a MFA in new media, a degree he received in 2005. He is represented in major museum collections in Finland and is internationally recognized through numerous exhibitions, including the 2007 Venice Biennale; On the Margins (2009, Kemper Art Museum, St Louis); and the 2008 Cairo Biennale. He has held solo exhibitions throughout Europe, Scandinavia and the Middle East, and, in 2010, Abidin’s work will be the subject of a major solo exhibition at Kiasma, Helsinki’s Museum of Contemporary Art. For more information on Abidin’s work visit his website at http://www.adelabidin.com/

Adel’s residency at Location One is supported by FRAME, the Fund for Art Exchange.Tomomi Adachi
Tomomi Adachi was born in Kanazawa, Japan in 1972 and graduated from Waseda University in Tokyo in 1994 with a degree in philosophy and aesthetics. He has created multiple sound installations inspired by Fluxus, played improvised music with voice, live electronics, self-made instruments (e.g. the “Tomomim”), and has composed works for his own group “Adachi Tomomi Royal Chorus,” which is a punk-style choir. He has also organized experiment music concerts and inter-disciplinary performances in Japan and Germany, working collaboratively with artists such as Chris Mann, Trevor Wishart, Nicolas Collins, Jaap Blonk, Carl Stone, Akira Sakata, Erhart Hirt, Butch Morris, and Jon Rose. Recently, he is focusing his activities on solo performance (with voice, sensors, computer, self-made instruments), sound poetry (especially to the unknown Japanese sound poetry tradition), video installation and workshop style big ensemble with non-professional voice and instruments. To learn more about Adachi’s work, please visit his website at http://www.adachitomomi.com/

Alexandra Mota de Aguiar
Alexandra Aguiar was born in Funchal, Madeira (Portugal) in 1977. In 1996 she moved to Oporto city to attend theatre classes at Balleteatro Professional School. Two years later she travelled to New York where she remained for approximately one year, experiencing her first encounter with art. Shortly thereafter, she went to Lisbon to study sculpture at the Center for the Arts and Visual Communication (AR.CO), completing her degree in 2004. Since then, she has held solo exhibitions at several venues in Portugal, and has participated in international group exhibitions, most notably Anteciparte (2005, Parque Eduardo VII, Lisbon) and Drawing Attention (2008, Invaliden Gallery, Berlin). She currently lives and works in Berlin.

Wojtek Doroszuk
Doroszuk was born in 1980 in Glogów, Poland and currently resides in Kraków where he received his MFA from the Academy of Fine Arts in 2006. In addition to critically acclaimed solo exhibition Special Features at BWA Awangarda Gallery (2009, Wroclaw), and another at the Bunkier Sztuki (2007, Kraków), he has participated in innumerable group exhibitions throughout Europe since 2003, including, most recently, Double Movement: Migratory Aesthetics (2008, The Stenersen Museum, Oslo, Norway); Blankly, perfect summer (2008, vertexList, New York); Where the East Ends (2008, Nassauischer Kunstverein, Wiesbaden, Germany); Flowers of Our Lives (2008, CSW Znaki Czasu, Toruń, Poland); Ain’t No Sorry (2008, Museum of Modern Art, Warsaw, Poland); The Memory of this Moment from the Distance of Years (2007, Schindler’s Factory, Kraków); At the Center of Attention (2006, Centre for Contemporary Art Ujazdowski Castle, Warsaw).

Lyra Abueg Garcellano
Lyra Abueg Garcellano was born in 1972 in Manila, Philippines, and graduated from the Ateneo de Manila University with a BA in Interdisciplinary Studies (1994) and from the University of the Philippines with a BFA (2000). She has held numerous solo exhibitions and was an artist in residence for the Cemeti Art Foundation in Jogjakarta, Indonesia, which was made possible through the UNESCO-ASCHBERG Bursaries for Artists in 2002. She has also participated in countless international group exhibitions, including Post-Tsunami Art, Emerging Artists from Southeast Asia (2009, Milan, Italy), Jakarta Biennale XIII (2009, Jakarta), Trauma Interrupted (2007, Cultural Center of the Philippines); Balancing Act (2006, Future Prospects, Quezon City); Flippin’ Out: From Manila to Williamsburgh (2005, Goliath Visual Space, NY); and the 2002 Gwangju Biennale. Garcellano is also an accomplished illustrator of children’s books and is the author of a comic strip in a national daily newspaper in the Philippines.

Jesse Jones
Jesse Jones was born in 1978 in Dublin, Ireland, and is a graduate of the National College of Art & Design (BA, 2002), and the Dun Laoghaire Institute of Art and Design (MA, 2005). She has held solo exhibitions throughout the U.K.; and has participated in numerous international group exhibitions, such as I Have Doubts, Centre for Visual Introspection, Bucharest, Romania (2009); Ubersong, Plan 9, Bristol, UK (March 2009); Historians of the Present 2, Ghost of Buildings, Blancpain Art Contemporain, Geneva (2009); Nought to Sixty, ICA, London (2008), with upcoming exhibitions including Red Thread (2009, TANAS, Berlin), and The 11th International Istanbul Biennial (2009).

What is Location One?

Art. Music, Performance. Talk. Technology.
We are a not-for-profit art center devoted to convergence between visual, performing and digital arts in a time of rapidly changing technology. We serve as a catalyst. Our goals are new ideas, new work, new forms of expression, new capabilities in our artists and new awareness in all those we reach.

How much does it cost?

Most of our events are FREE.

What are your programs?

Exhibition, Music, Performance, Discussion – all generated by a 3-tier international residency program composed each year of a Senior Artist, International Fellows and an emerging artist program.

Who qualifies as a “Senior Artist”?

An artist at the top of his or her game who is greatly admired. This position is an honor for Location One and it’s community and our staff works with our senior artist to help create some new work that they might not have created in the normal course of their busy careers. In 2006 – 2007 we had the honor of having Martha Rosler; in 2007 – 2008 we have been working with Laurie Anderson; in 2008 -2009 we will welcome Joan Jonas.

Who are the International Fellows?

This program is by-invitation only. Established artists are selected and sponsored by our International Committee. They are offered fellowships of up to 10 months and encouraged to create new work that they might not otherwise have undertaken without the assistance of our gifted staff. Most of our major exhibitions will be created by these artists.

What is the emerging artists’ Residency Program?

Ten to twenty artists per year from around the world come to spend five or ten months in our studios, experimenting and creating new work. more info >>

How do I apply to the International Residency Program?

There is no application because artists are proposed by curators, critics and our own staff. We do this because we do not have enough staff to review all of the artists’ portfolios we would receive if we had an open call.

Who qualifies for the emerging artists’ program and how are they chosen?

Candidates must be working artists with at least three years of practice and some exhibition history. Students are not eligible. Artists from abroad are selected through a double panel review process: A home-country sponsoring institution proposes a short list of candidates, from which Location One chooses one artist-in-residence. American artists are proposed by curators, critics, and by our own staff.

What is the Exhibition Program?

Our central contribution to the artistic community and the public-at-large. All work shown in our exhibitions will be created at Location One or in collaboration with our curators. Each season, we have five exhibitions, usually drawn from our group of International Fellows – often including work one by our senior artist-in-residence. Throughout the year work by emerging artists is presented in the Project Room or Performance Space. more info >>

How do I propose an exhibition?

All work in our exhibitions has been created at Location One, by our residents, or in conjunction with our curators. Unsolicited proposals are not accepted.

What is the Music/Performance program?

We believe in interdisciplinary work. At Location One, you will find the collaboration of musicians, visual artists and technologists. We call this convergence and often host innovative new performances. We also host Roulette in our performance space, so almost any night of the week, some of the most innovative musicians will be playing at 20 Greene.

What is the Discussion Series?

Symposia, panels, lectures or workshops by artists, performers, critics, technology experts and thinkers from different fields that explore questions of central importance to contemporary society and art, including politics, religion, ethics, the environment and the role and interaction of information and technology. more info >>

How can I help support Location One?

Become a member, donate through Paypal, or volunteer your time as an intern.

What benefits are there to being a member?

Invitations to members-only artists’ presentations; discounts and reserved seating to all performances and events (e.g. Roulette concerts); a subscription to our calendar of programs, exhibitions and events; and a listing on our website. At higher levels, membership includes special gifts, catalogs, DVDs, invitations to private receptions, dinners and events, and the opportunity to hold a private event in our gallery.

How can I become a member?

Go to our membership page or come to one of our events and sign up.

Can I rent the space for my party/event?

The space at 20 Greene is sometimes available for rental. Please e-mail info@20greene.com.

How is Location One funded?

Location One is funded by grants from the government and foundations, and donations from our Board of Trustees and individuals like you. List of our supporters >>

What is the history of Location One?

We were founded in 1997 by Claire Montgomery. In 2000, we moved into our permanent location at 26 Greene St, and launched our visual arts, music and dance programs the next year. In 2001, our International Residency Program followed and in 2002-03, we initiated our discussion and workshop program. Since then we have been growing all of our programs and upgrading our space to allow us to present the most current technologies.

Where are you located?

26 Greene Street, between Grand and Canal Streets, in Soho, New York City, The Big Apple, Gotham, the City that Never Sleeps, Baghdad on the Hudson, here’s a map >>

1. First, the Internet is about content, not just a conduit for it. The nature of the technology changes content—not just access and distribution—with implications across the full range of artistic expression and subject matter.

2. Second, Location One is about convergence. We are bringing together creativity along the two standards that have governed the history of human expression: the axis of expressive discipline and the axis of available technology.

3. Third, Location One is a catalyst. We select talent, stimulate interaction, supply resources, and provide real and virtual forums. We enable things both cool and consequential to happen. New media transform artistic expression. Conventional barriers of time and distance are erased. With them depart a myriad of social, political and cultural distinctions. Access, distribution, participation become universal (and affordable).

4. Creative alternatives proliferate. These things are known. Less widely understood is the degree to which technology transforms content. Or, more accurately, continues a transformation that began midway through the 20th century. A work of art begins with its creators. But, more than ever before, it also encompasses its audience, interactivity and the potential for ongoing evolution.

5. Location One is creating a new environment for contemporary art, one that is rich in interdisciplinary context. The new media are interactive—but so have always been live events. Our unique opportunity lies in the linkage between live performance, exhibition and dialogue and electronic broadcast, feedback and interaction. Each of our activities will comprise some combination of live and electronic elements, according to the vision of their creators.

6. We assign a central place to new media and the internet in our presentation of contemporary art. Our focus, however, differs from others encouraging cultural application of new media. We believe—and this is our central belief—that there is extraordinary value to be gained from the collaboration of new media artists with artists from every other artistic and expressive discipline.

We applaud the countless efforts underway elsewhere to explore purely digital work, to enhance technical expertise and extend access and delivery; our contribution will lie in the implications of media convergence for artistic content. The work we commission asks contemporary artists—painters, sculptors, dancers, musicians, poets, storytellers—to collaborate with computer, video and new media artists. We have seen their minds stretch, their work grow, and their audiences come alive. What emerges from these collaborations is unique, unexpected, provocative…and sometimes brilliant.

7. The media re-invent the content. We will continue to put together imaginative combinations of proven and promising talents from both the physical and virtual sides of the house of creativity. We encourage them to explore, to learn, to discuss, to argue, and ultimately to create, present and perform. We support their activity both with fellowships and with commissions for specific bodies of work. We place neither demand nor restriction on subject, style or medium. We are catalysts. We provide access to the tools and resources of the new media; they are beyond the limited means of most artists.

8. We support visiting artists and artists-in-residence. We encourage them to develop their work to the needs and opportunities of the live-performance-and-exhibition/Internet-streaming synthesis. This is not, we have found, a simple process; friction and dislocation are part of the price of new creative experience. In 1999 we opened our space in SoHo. It enables regular exhibitions of physical, digital and video art, live performances, workshops and discussions, and a broad range of collaborative and experimental effort. The space is linked electronically to our affiliated locations in the US, Japan, and Europe.

9. We broadcast daily, through our website and related electronic technology. We present not only the events taking place at our home and affiliated spaces, but also a wide range of other programs and electronic projects.

10. We are very selective. We function less as an aggregator site than as a relatively narrow portal opening onto convergent artistic content of a very high quality. We have found that our approach appeals to a wide spectrum of non-trivial users of technology—some are artists, many are relatively young, most are interested in artistic, technological or cultural innovation. We view the discussion and debate that the Web makes possible as central to the development of an artistic vocabulary of convergence. Perhaps more important, we view the transmission of our artists’ works and the consequent perceptual, conceptual or interactive response of the audience as integral elements of the works themselves.

Location One is a not-for-profit, tax-exempt corporation incorporated in the State of New York, with funding from corporations, foundations and private individuals.

Volume covers a new media terrain of sound, 3-d animation and video by bringing it into
the gallery space. As technologies for new media work have allowed for new levels of
complexity to flourish, it gives rise to that complexity a need for a venue where it can be
experienced. The concept of the exhibition is to use the gallery space and its entire audience
as its participators and creators. It amplifies sound into a complex layered form of the show itself.
In the activity around the show, parts will be orchestrated and controlled, but most will be left untended.
It signals the form of content to be interactive installations, filtering and rippling out across an increasingly
uncontrollable terrain. By infiltrating almost every level of the gallery space, Volume will have a thoroughly
deep understanding of this combined new media with acoustic and amplified sound meant to be
encountered. Volume explores the evolution of sound art with narrative structures and compositional methodologies
for the creation of interactive sound installation, sound sculpture, and live performance projects.http://www.3rdwardbrooklyn.org/news/view/volume

Volume covers a new media terrain of sound, 3-d animation and video by bringing it into
the gallery space. As technologies for new media work have allowed for new levels of
complexity to flourish, it gives rise to that complexity a need for a venue where it can be
experienced. The concept of the exhibition is to use the gallery space and its entire audience
as its participators and creators. It amplifies sound into a complex layered form of the show itself.
In the activity around the show, parts will be orchestrated and controlled, but most will be left untended.
It signals the form of content to be interactive installations, filtering and rippling out across an increasingly
uncontrollable terrain. By infiltrating almost every level of the gallery space, Volume will have a thoroughly
deep understanding of this combined new media with acoustic and amplified sound meant to be
encountered. Volume explores the evolution of sound art with narrative structures and compositional methodologies
for the creation of interactive sound installation, sound sculpture, and live performance projects.http://www.3rdwardbrooklyn.org/news/view/volume

]]>Virginie Yassef opens at Galerie Vallois, Parishttp://www.location1.org/virginie-yassef-opens-at-galerie-vallois-paris/
Thu, 08 Mar 2007 15:22:28 +0000http://www.location1.org/virginie-yassef-opens-at-galerie-vallois-paris/Our fall 2006 French artist, Virginie Yassef, will be showing at the Galerie Vallois in Paris. She is presenting the works developed here at Location One during her residency from September till December last year. Coincidentally, she is co-exhibiting with artist Vincent Lamouroux, who was an artist in residence here in 2003-04. Her works will on view in the gallery till the 28th of April.

]]>Daniel Blaufuks receives BES Photo Awardhttp://www.location1.org/daniel-blaufuks-receives-bes-photo-award/
Wed, 07 Mar 2007 15:20:34 +0000http://www.location1.org/daniel-blaufuks-receives-bes-photo-award/Daniel Blaufuks, previous artist in resident here at Location One has just received the BES Photo Award, the “most prestigious award for photography in Portugal”, for his work Terezín (photography and video).

The 28098th dorkbot-nyc meeting took place on Wednesday, February 7th, 2007, at 7pm.

It featured the fragrant and marvellous:

free103point9: Transmission Arts
Two of tonight’s presenters, 31 Down and Tianna Kennedy, are free103point9 “transmission artists”. Tom Roe and Galen Joseph-Hunter will give us a quick intro to free103point9: free103point9 is a non-profit arts organization focused on establishing and cultivating Transmission Arts. This genre includes experimental practices in radio art, video art, light sculpture, and installation and performance utilizing the electromagnetic spectrum. With locations in Upstate and Brooklyn, New York, free103point9 activities support and promote artists exploring transmission frequencies for creative expression. free103point9 programs include public performances and exhibitions, an experimental music series, an online radio station and distribution label, an education initiative, and an artist residency program and study center. http://www.free103point9.org

31 Down: Pay-Phone Theater
represented by Mirit Tal and Shannon Sindelar 31 Down is a theater company that uses radio and network technologies as the backbone for their storytelling in performances and installations. 31 Down has provided a TRIXBOX server (based on Asterisk) for free103point9: transmission arts. Transmission Artists with free103point9 now have access to an open source PBX for use in their artwork. Mirit Tal and Shannon Sindelar, of 31 Down, will introduce the use of this server in their upcoming theater projects, including the subway pay-phone mystery installation, Canal Street Station, opening this March. http://www.31down.org

Brad Borevitz: The State of the Union
Lamenting the triumph of iconicity over rhetoricity in political speech, Brad Borevitz created the State of the Union project to consider if evidence for this assertion exists in the language of the the yearly address which stands as a controlled sample over the course of U.S. history. The website provides searchable access to the corpus of all the State of the Union addresses from 1790 to 2007, and uses visualization software which allows a user to explore how specific words gain and lose prominence over time. State of the Union focuses on the relationship between individual addresses as compared to the entire collection of addresses, highlighting what is different about each document. From this information, users are invited to try and understand the connection between politics and language — between the state we are in, and the language which names it and calls it into being.http://www.onetwothree.net/

Tianna Kennedy
Tianna’s artistic endeavors are collaborative explorations of human/information interaction with an emphasis on the transmission of affect. Though her work often takes shape via sound recording, web-streaming, and radio technologies, her focus inevitably returns to the people involved in the process(es). For her presentation at dorkbot, Tianna will talk about the paradoxical role of nostalgia in the avant-garde of sound technology. Along the way she’ll touch on edison’s gramophone, Sir Oliver Lodge’s Etheric experiments, and her collaborator, Tarikh Korula’s own recent archaeoacoustic stylus, which is supposed to retrieve latent ambient historical sound trapped in objects at the moment of their production. http://www.free103point9.org/artist.php?artistID=10

Yumiko attended the National University of Fine Arts and Music in Tokyo with a scholarship from the Japan Foundation and obtained her MFA in 2002. In 1997, she was awarded the prestigious “Kume Keiichiro” award followed by the “Takahashi Geiyukai” award in 2003.

Her work has been shown extensively and she has participated in various international art events: in 2003, at Echigo-Tsumari Art Triennial (Nigita); “Good Luck” exhibition at Tama City Cultural Foundation (Tokyo) in 2003, and in 2000, “The Future of Art” curated by Manabu Goto at the Kitakata Museum (Fukushima), Japan.

]]>Leesa and Nicole Abahuni (U.S.A)http://www.location1.org/leesa-and-nicole-abahuni/
Tue, 16 Jan 2007 12:34:06 +0000http://test.location1.org/news/leesa-and-nicole-abahuni-usa/Leesa and Nicole Abahuni are artists and twins from New York who collaborate on the investigation of the senses and the exploration of the interrelationships between the visual, aural, and tactile realms.

They have received awards and grants from the Experimental Television Center, NY; International Postgraduate Scholarship, Goldsmiths College, London, UK; Alumni Scholarship Award, School of Visual Arts, NY; Award of Distinction, School of Visual Arts, NY.

Leesa and Nicole Abahuni’s residency at Location One is supported by Warhol Foundation.

]]>dorkbot NYC – January 2007http://www.location1.org/dorkbot-nyc-january-2007/
http://www.location1.org/dorkbot-nyc-january-2007/#respondWed, 03 Jan 2007 05:01:15 +0000http://test.location1.org/events/dorkbot-nyc-january-2007/The Great Music Dorkout of 2007!!! The 6021st dorkbot-nyc meeting took place on Wednesday, January 3rd, 2007, at 7pm.
]]> January 3, 2007The Great Music Dorkout of 2007!!!The 6021st dorkbot-nyc meeting took place on Wednesday, January 3rd, 2007, at 7pm.It’ll was full of musical dorkiness of the highest order, to start the year off right.It featured the fragrant and marvellous:

Tomas Henriques: META-EWI and META-EVI (customized wind controllers)The META-EWI and the META-EVI are respectively a modified EWI (Akai’s Electric Wind Instrument) and a modified MIDI EVI (Steiner’s Electric Valve Instrument), to which were added a whole new set of controllers based on sensor technologies. The goal of these two projects was to achieve specific innovative levels of performance techniques and musical expressiveness that go beyond what is currently possible to do with either a monophonic wind controller or a monophonic acoustic instrument and to take advantage of meaningful performance gestures and body motions that are naturally used by a performer of such an instrument. These modified instruments succeed at stretching the expressiveness and the range of musical gestures found on the original instrument allowing the musician to have a more complete and far reaching control of a great variety of meaningful musical parameters. http://www.electrotap.com/articles/MetaEWI.shtml

Dan Trueman: PLOrkThe Princeton Laptop Orchestra (PLOrk) is a newly established ensemble of computer-based musical meta-instruments. Each instrument consists of a laptop, a multi-channel hemispherical speaker, and a variety of control devices (keyboards, graphics tablets, sensors, etc…). Dan Trueman, co-founder and director of PLOrk, will introduce the ensemble, describe its design and a number of the pieces written for it, and share video and audio recordings from recent performances.http://plork.cs.princeton.edu/

MEAPsoft: MEAPsoft!!!MEAPsoft is open source software for automatically segmenting and rearranging music audio recordings. It is aimed at musicians and experimenters who want to play with new ways to analyze, sort, and resynthesize audio fragments. MEAPsoft was developed by a collaborative group of students and faculty from LabROSA and the Computer Music Center at Columbia University. Members of the group will talk about the concepts behind the software and play lots of groovy examples! http://labrosa.ee.columbia.edu/meapsoft

]]>http://www.location1.org/dorkbot-nyc-january-2007/feed/0dorkbot NYChttp://www.location1.org/dorkbot-nyc-december-2006/
http://www.location1.org/dorkbot-nyc-december-2006/#respondWed, 06 Dec 2006 05:01:04 +0000http://test.location1.org/events/dorkbot-nyc-december-2006/The 24072nd dorkbot-nyc meeting took place on Wednesday, December 6th, 2006, at 7pm.It featured the fragrant and marvellous:

Sam Freeman: 1000 Ways It Doesn’t Work1000 Ways It Doesn’t Work is a multimedia art project which attempts to come to terms with the General Electric Corporation. Through installations, performances, videos, programs, correspondence, and web pages the project seeks the human dimensions and implications of the multi-national behemoth that is GE. The presentation will include an overview of all the pieces involved, and a discussion of where the project can go from here. http://1000ways.org

Marisa Olson: Oh.Yeah.I.Love.You.BabyMarisa’s work deals with popular music and the cultural history of technology. She’s just started production on her first sound art album, “Oh.Yeah.I.Love.You.Baby,” in which each word in the album title is also the title of a respective track whose lyrics consist solely of that word. To her, these words are the “greatest hits” of pop lyrics, and each utterance of them is culled from hours and days of pop music samples. Of course, Marisa’s work is also often about failure, humiliation, and a lack of talent. Accordingly, she’s not sure whether her project sucks or not. She could use a little feedback on this work in progress.http://www.marisaolson.com

Rick Silva: RSS Jockeysilva will do a short presentation of his work in the last 8 years that has used the d.j. and d.j.ing as a metaphor. including a screening of silva’s 1999 short film ‘scratch’, brief overviews of recent projects rssjockey.com and satellitejockey.net and a sneak preview of his upcoming project ‘natural selection.’http://rssjockey.com

]]>http://www.location1.org/dorkbot-nyc-december-2006/feed/0Leesa & Nicole Abahuni – "In the Sky"http://www.location1.org/leesa-nicole-abahuni-in-the-sky-2/
http://www.location1.org/leesa-nicole-abahuni-in-the-sky-2/#respondTue, 21 Nov 2006 19:22:52 +0000http://test.location1.org/events/leesa-nicole-abahuni-in-the-sky/Location One presented the debut solo exhibition in NYC by artists Leesa & Nicole Abahuni, on view in our main gallery at 26 Greene Street from November 21st through January 27th 2007 (Tue-Sat, 12-6pm). The multimedia installation, which was commissioned by Location One, is entitled In the Sky, is an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms.
]]>November 21, 2006 – January 27, 2007

Location One is pleased to present the debut solo exhibition in NYC by artists Leesa & Nicole Abahuni, on view in our main gallery at 26 Greene Street from November 21st through January 27th 2007 (Tue-Sat, 12-6pm).

An opening reception and performance will be held on Wednesday, November 29th from 6 to 8 pm.

The multimedia installation, which was commissioned by Location One, is entitled In the Sky, is an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms.

In the Sky populates the gallery with strands of metallic beaded-chain hung in patterns from the ceiling, creating a spatial architecture through which visitors navigate. This web will force the individual to slow down the body so that the senses can become more aware of changes in tactile, visual and aural experiences while at the same time generating waves of movement, reflections and shadows. The audio portion of the installation presents six separate channels of sound, progressively laid out from the front to the back of the gallery. On the back wall of the gallery a video screen will show the work of hands weaving and unweaving a tapestry, or the movement of an acrobat winding and unwinding his body on a rope. Overall, the installation explores the notion of repetition, the weaving and unweaving of time and memory, so that the senses can rise to a greater awareness of the space around them.

The Abahunis have always worked as a team. “As twins we are born collaborators” says Nicole, and Leesa continues: “Collaboration is at the root of our thinking and our work. We believe that the active forging of tactile, aural and visual perception between humans and in collaboration with technology asks questions that can yield ways of better understanding, seeing and hearing natural order.”

Opening night, November 29th 2006, will include a half-hour performance of a new composition, commissioned by Location One and created specifically for this installation by New York-based avant-garde musician Elliott Sharp, and performed with percussionists Danny Tunick and Christine Bard, and dancer Glen Rumsey. Using MAX/MSP software that generates and manipulates sound, the musicians will create an aural environment that responds to the movements of people within the space. The performance will be recorded and the resultant selection of sound files will be used as audio components throughout the duration of the installation.

Leesa and Nicole Abahuni participated in Location One’s 2005-2006 International Residency Program, with support from the Andy Warhol Foundation for the Arts. In the Sky has received funding from the Peter Norton Family Foundation and assistance from Harvestworks.

The Abahunis studied at Goldsmiths College, University of London, MFA; Polimoda, Florence, Italy; and the School of Visual Arts, NYC, BFA in Computer Art. They have exhibited nationally and internationally including the 6th International Arts Biennial of Sharjah, United Arab Emirates; ICA, London; Sonic Interactions Conference, London; Redux, London; Gallery Mouri, Tokyo; Orb//Remote, Copenhagen; Half Machine Festival, Copenhagen; Eyebeam Atelier, NYC; Siggraph, Los Angeles; DUMBO Arts Festival, Brooklyn; DUMBO Arts Center, Brooklyn; 67 Gallery, Brooklyn; Deep Listening Space, Kingston; The Kitchen, NYC. Their solo performances include The New York Hall of Science, Queens and NYC in 2000. They have received awards and grants from the Experimental Television Center, NY; International Postgraduate Scholarship, Goldsmiths College, London, UK; Alumni Scholarship Award, School of Visual Arts, NY; and Award of Distinction, School of Visual Arts, NY.

Elliott Sharp is an American multi-instrumentalist, composer, and performer who has personified the avant-garde experimental music scene in New York City for over thirty years. He has released over sixty-five recordings spanning the musical spectrum from blues, jazz, and orchestral music to noise, no wave rock, and techno music. Sharp describes himself as a lifelong “science geek,” having modified and created musical instruments from his teen years. He is an inveterate performer, both as a soloist (playing mainly guitar, saxophone and bass clarinet) and with a number of ensembles.

Glen Rumsey is originally from Greensboro, NC. He graduated from the North Carolina School of the Arts and moved to New York to join the Merce Cunningham Dance Company. Glen has danced and collaborated with many choreographers, including Mark Morris, Pam Tanowitz, Stanley Love, and Sarah Michelson. He has also developed a drag performance character, Shasta Cola, whose shows have received critical accolades both in the US and Europe. In 2005 he choreographed an original dance suite entitled “ignored in my heaven…” which he performed to critical acclaim at Location One with his dance troupe, the Glen Rumsey Dance Project. He has received a Creative Residency for 2006-2007 at Dance Theater Workshop. www.glenrumsey.com

]]>http://www.location1.org/leesa-nicole-abahuni-in-the-sky-2/feed/0dorkbot NYC – September 2006http://www.location1.org/dorkbot-nyc-september-2006/
http://www.location1.org/dorkbot-nyc-september-2006/#respondWed, 06 Sep 2006 05:01:09 +0000http://test.location1.org/events/dorkbot-nyc-september-2006/September 6, 2006The e-th dorkbot-nyc meeting took place on Wednesday, September 6th, 2006, at 7pmIt featured the fragrant and marvellous:

Jon Lippincott: Vis Virtual UniverseVis is a virtual universe written from the ground up in C++. It has become the a means of creative expression for its author, who has used it for live performances at art spaces and nightclubs in NYC. It is a relatively young project (less than a year), and has a number of potential paths of evolution, the most likely being some kind of online space where users can create their own worlds and communicate with one another in unique ways.http://www.jonlippincott.com

David Kareve: horrified robot artDavid Karave creates horrified robot art. “Home Automation” is a combination of cinema, theatre and violent robotics. A family of crash test dummies, in a walk-in living room, react to the terror color code alerts on their television, by violently & musically smashing into themselves. His work will be on display at the Edward Albee foundation, 91 Fairview Ave, Montauk, NY, September 24-30th.http://www.crashingart.com

Sign up for your membership on or before June 14th and you will get this event as a bonus, in addition to the usual three members-only happenings throughout the year, and free admission, exclusive invitations, special events and other benefits.

Membership starts at $25 for artists and $50 for individuals.
http://www.location1.org/membership/
Only in the experimental and unrestricted environment of Location One will you see and hear such a convergence of fiercely creative audio, visual, and performance art and meet so many intriguing people.

Location One presents ECHO, a collaborative project created by visual/media artist Andrew Duggan and dancers Jonathan Kelliher and Joanne Barry of Siamsa Tíre, the National Folk Theatre of Ireland. For one-night only traditional Irish dance will be transported from the South West coast of Ireland to Location One’s Gallery space in New York City. Impromptu street performances and filming will take place in NYC at undisclosed locations leading up to the event. The resulting project will be presented at Location One.The event will take place on Thursday, May 18, 2006 (6:30-8:30pm). The video installation will be continuous throughout the presentation, with dance performances at 7pm and 8pm (approximately 10 minutes in length). The event is free and open to the public.ECHO is a multidisciplinary project that examines the creative dialogue between dance and video. The work explores folk movement vocabulary in an urban context. With a focus on the complex nature of ‘looking’, it breaks down some of the perceived barriers between art forms. In keeping with folk tradition, a crossroads becomes a symbolic space through which the dancers have a physical dialogue, questioning the origin of the echo. At its core, ECHO creates crossroads between traditional and contemporary forms, rhythmic structures, the physical dance space, and cultures.Andrew Duggan’s media and installation work investigates the space between tradition (fact/folk/lore, etc..) and contemporary space and time. He plays with cultural representations and perceptions and has presented many projects in the public domain. In Kerry, the Bán/Blane series (2004) were projected on to a building reputed to have been prepared for the escape and arrival of Marie Antoinette. He frequently collaborates with dancers, musicians and cultural institutions. In CentreStage, he worked with the National Folk Theatre of Ireland to create an installation on the traditional (Irish) crossroads and the nature of looking. Born in Cork and raised in Dublin, Duggan lives and works in Dingle (West Coast of Ireland). He studied at the Crawford College of Art and design, Cork; the National College of Arts and Design, Dublin; and the University of Ulster, Belfast.Siamsa Tíre (pronounced shee-am-sah tir-a: enjoyment of the ground), the National Folk Theatre of Ireland was founded in 1974. Its mission is to reflect Ireland’s great wealth of music, dance and folk tradition for the stage, through vibrant, colorful theatricality and to continue to create new folk theatre presentations, drawing on their traditions and rich cultural reservoir. The company has performed their unique brand of folk theater at venues all over Ireland, and in the US, Canada, Brittan, Germany, France, Belgium, Holland, Italy, Spain, South America, and Australia.Andrew Duggan has been an artist-in-residence at Location One since September 2005. His residency is supported, in part, by The Arts Council/An Chomhairle Ealaíon (Ireland).video documentation:[display_podcast]

a monthly conversation with an artist who is using (or misusing) technology in an interesting way. This month: Nina Sobell.

Nina Sobell is a pioneer video artist whose improvisational time-based sound and image Web performances are embedded with her drawing, sculpture and video background. She is inspired by the collaborative process that evolves from crossing the lines of music, art and technology, and opening up these channels interactively to the public, initially through interactive video installations, and more recently on the Web. Sobell is primarily interested in non-narrative work that leaves open the possibility for multiple interpretations. Her collaborations and installations as a core member of ParkBench stem from her efforts to demystify technology by assisting in the implementation of ParkBench Public Access Web kiosks run by inner city youth. Sobell envisions ParkBench as a way to promote multicultural, transmedia dialogue and as a safe place to congregate in cyberspace. She is the recipient of numerous awards, including grants from the NEA and NYSCA for her pioneering video performance art. She received a BFA sculpture and printmaking from Tyler School of Art, Temple University, and an MFA in sculpture from Cornell University. Her sculptures, installations, and video art have been shown throughout the World.

Location One continues its Fall 2005 season with an exhibition in two parts featuring a large-scale interactive installation in the main gallery and a collection of smaller sound pieces in the project room.

Slowscan Soundwave (III) is an immense, interactive sound sculpture by artist and dorkbot instigator Douglas Repetto. Consisting of enormous strips of sound-sensitive transparent mylar strewn from the ceiling, motors, and custom electronics, the piece “breathes” in sympathy with the ambient sounds in the gallery, rippling and reflecting light when there is a sound and resting, invisible, when there is silence. Because of the transparency of the mylar strips, the effect is subtle and eerie, a gossamer membrane that functions as acoustic barometer, making visible sonic phenomena that are often heard, but rarely seen.

Telæsthesia is the perception of events or objects not actually present. In Location One’s Project Room, we present The Telæsthetic Finger, a selection of works that function as acoustic crab traps: devices that are cast out and reeled back in, filled with booty…or not. On display: the booty and the devices.

Works by Kevin Centanni (sneaking into frequencies usually accessible only by police radios and emergency pagers, this piece uses a computer script to convert the data to ASCII and the messages are presented in real time on a scrolling LED display like so many stock quotes); Atsushi Nishijima (recordings at the end of a kite sent out of sight and reeled back in), and Heather Wagner (“Attempted–Not Known” comes out of an old hobby of sending recording devices through the mail, gathering acoustic documentation of their journeys. In this version, the packages are sent to impossible addresses, for example “GOD”, or “Amelia Earhart” and are, hopefully, returned to sender. Inexplicably, the reasons for nondelivery – “Insufficient Address”, “Outside Delivery Limits” – vary from addressee to addressee.

Artist Biographies:

Douglas Irving Repetto
is an artist and teacher. His work, including installations, performances, recordings, and software has been presented internationally. He runs a number of arts/community-oriented groups in New York City and on the web, including dorkbot: people doing strange things with electricity, ArtBots: The Robot Talent Show, organism: making art with living systems, and the music-dsp mailing list and website. When not teaching or making art, Douglas spends much of his time cooking, coveting buildings, and socializing with members of the plant kingdom. He is Director of Research at the Columbia University Computer Music Center and lives in New York City with his wife, writer Amy Charlotte Benson; two cute/bad cats, Pokey and Sneezy; and many plants.

Kevin Centanni
is a veteran of physical computing and interactive multimedia. His technological wizardry and innovative approach to high-tech problems have led to his involvement in many projects, ranging from museum installations to corporate trade show exhibits.Kevin is currently President of Controlled Entropy, a Brooklyn based technology consulting firm that has been producing interactive technology for over 10 years. From 2000 to 2004, Kevin was also one of the owners of Remote Lounge, a unique interactive bar/nightclub in New York City. Previously Kevin Centanni was Director of Technology for Interfilm, an interactive motion picture company that went public in 1994.

Atsushi Nishijima
is a composer and visual artist. Originally from Kyoto and trained in experimental and contemprary music, Nishijima creates sculptures and installations which emphasize the idea that sound, and thereby music, is inherent in all objects and environments. A particularly important resource for the artist is the city, which becomes a gigantic synthesizer. He participcated in Location One’s International Residency Program and had a solo show entitled “Subtractive Creation: Visible Sound”, 2001. His work has been show in Asia and the US, including Art Omi International Arts Center, New York, 2003, Sound in the Landscape; The New Museum of Contemporary Art, New York, 1994 with Rolywholyover A Circus as part of the Citycircus. Nishijima is also a performer and was featured in Roulette’s Festival of Mixology 2003, New York and the Tokyo Performing Arts Market – Alternative “Discovering New Talent – Music”.

Heather Wagner
is an artist and practicing ‘pataphysician with a black belt in Taiwan (inadvertently left in hotel room). She plays drums with the indie-rock band Morex Optimo and is director of online exhibitions at Location One. She is grateful to the curator for thinking of her.

]]>http://www.location1.org/slowscan-soundave-iii-the-tel%c3%a6sthetic-finger/feed/0Slowscan Soundave (III) & The Telæsthetic Fingerhttp://www.location1.org/slowscan-soundave-iii-the-tel%c3%a6sthetic-finger-2/
http://www.location1.org/slowscan-soundave-iii-the-tel%c3%a6sthetic-finger-2/#respondTue, 11 Oct 2005 22:01:47 +0000http://test.location1.org/exhibitions/slowscan-soundave-iii-the-tel%c3%a6sthetic-finger/Location One continued its Fall 2005 season with an exhibition in two parts featuring a large-scale interactive installation in the main gallery and a collection of smaller sound pieces in the project room.
]]>

Location One continues its Fall 2005 season with an exhibition in two parts featuring a large-scale interactive installation in the main gallery and a collection of smaller sound pieces in the project room.

Slowscan Soundwave (III) is an immense, interactive sound sculpture by artist and dorkbot instigator Douglas Repetto. Consisting of enormous strips of sound-sensitive transparent mylar strewn from the ceiling, motors, and custom electronics, the piece “breathes” in sympathy with the ambient sounds in the gallery, rippling and reflecting light when there is a sound and resting, invisible, when there is silence. Because of the transparency of the mylar strips, the effect is subtle and eerie, a gossamer membrane that functions as acoustic barometer, making visible sonic phenomena that are often heard, but rarely seen.

Telæsthesia is the perception of events or objects not actually present. In Location One’s Project Room, we present The Telæsthetic Finger, a selection of works that function as acoustic crab traps: devices that are cast out and reeled back in, filled with booty…or not. On display: the booty and the devices.

Works by Kevin Centanni (sneaking into frequencies usually accessible only by police radios and emergency pagers, this piece uses a computer script to convert the data to ASCII and the messages are presented in real time on a scrolling LED display like so many stock quotes); Atsushi Nishijima (recordings at the end of a kite sent out of sight and reeled back in), and Heather Wagner (“Attempted–Not Known” comes out of an old hobby of sending recording devices through the mail, gathering acoustic documentation of their journeys. In this version, the packages are sent to impossible addresses, for example “GOD”, or “Amelia Earhart” and are, hopefully, returned to sender. Inexplicably, the reasons for nondelivery – “Insufficient Address”, “Outside Delivery Limits” – vary from addressee to addressee.

Artist Biographies:

Douglas Irving Repetto
is an artist and teacher. His work, including installations, performances, recordings, and software has been presented internationally. He runs a number of arts/community-oriented groups in New York City and on the web, including dorkbot: people doing strange things with electricity, ArtBots: The Robot Talent Show, organism: making art with living systems, and the music-dsp mailing list and website. When not teaching or making art, Douglas spends much of his time cooking, coveting buildings, and socializing with members of the plant kingdom. He is Director of Research at the Columbia University Computer Music Center and lives in New York City with his wife, writer Amy Charlotte Benson; two cute/bad cats, Pokey and Sneezy; and many plants.

Kevin Centanni
is a veteran of physical computing and interactive multimedia. His technological wizardry and innovative approach to high-tech problems have led to his involvement in many projects, ranging from museum installations to corporate trade show exhibits.Kevin is currently President of Controlled Entropy, a Brooklyn based technology consulting firm that has been producing interactive technology for over 10 years. From 2000 to 2004, Kevin was also one of the owners of Remote Lounge, a unique interactive bar/nightclub in New York City. Previously Kevin Centanni was Director of Technology for Interfilm, an interactive motion picture company that went public in 1994.

Atsushi Nishijima
is a composer and visual artist. Originally from Kyoto and trained in experimental and contemprary music, Nishijima creates sculptures and installations which emphasize the idea that sound, and thereby music, is inherent in all objects and environments. A particularly important resource for the artist is the city, which becomes a gigantic synthesizer. He participcated in Location One’s International Residency Program and had a solo show entitled “Subtractive Creation: Visible Sound”, 2001. His work has been show in Asia and the US, including Art Omi International Arts Center, New York, 2003, Sound in the Landscape; The New Museum of Contemporary Art, New York, 1994 with Rolywholyover A Circus as part of the Citycircus. Nishijima is also a performer and was featured in Roulette’s Festival of Mixology 2003, New York and the Tokyo Performing Arts Market – Alternative “Discovering New Talent – Music”.

Heather Wagner
is an artist and practicing ‘pataphysician with a black belt in Taiwan (inadvertently left in hotel room). She plays drums with the indie-rock band Morex Optimo and is director of online exhibitions at Location One. She is grateful to the curator for thinking of her.

]]>http://www.location1.org/slowscan-soundave-iii-the-tel%c3%a6sthetic-finger-2/feed/0Odd Job back in NYhttp://www.location1.org/odd-job-back-in-ny/
http://www.location1.org/odd-job-back-in-ny/#respondFri, 21 Jan 2005 05:01:36 +0000http://test.location1.org/events/odd-job-back-in-ny/at Location One for a one night reunion

Friday, January 21 st , 2005

8:30 pm
Tickets: $12

Fifteen years after making a brief splash as an ill-fated downtown supergroup in the avant jazz and experimental music scene, Odd Job (Shelley Hirsch, Ned Rothenberg, David Weinstein and Samm Bennett along with new member bassplayer Stomu Takeishi) will give a one night reunion concert at Location One on Friday, January 21st , 2005.

In 1990 the group surprised and thrilled audiences by mixing skilled free noise improvisations with revisionist post-pop arrangements of rock and jazz standards. Their imaginative revisiting of songs by The Beatles, Jimi Hendrix, Bill Withers and other well-known pop icons subjected familiar melodies and structures to brutally altered arrangements and irreverent reconstruction.

After one year the group disbanded amidst a host of invitations and exaltations, citing schedule conflicts and personal differences.

Shelley Hirsch is an unorthodox, extraordinary fusion of vocalist, composer and performance artist whose work encompasses story telling pieces, staged performances, compositions, improvisations, collaborations, installations and radioplays, which have been presented on 5 continents. Hirsch has performed hundreds of concerts of improvised music with Anthony Coleman,Christian Marclay, Toshio Kajiwara, Aki Onda, Ikue Mori, Butch Morris, Billy Martin, DJ Olive, Dennis Delzotto, Fred Frith, Min Xiao Fen, David Watson and many many others.
Her vocals can be heard on 30 cds including her most recent releases “The Far In Far Out Worlds of Shelley Hirsch” (Tzadik) and “Duets” with guitarist Uchihashi Kasuhisa ( Innocence) and “O Little Town of East New York” (Tzadik) and “Haiku Lingo” both with longtime collaborator, keyboardist/composer David Weinstein.

Photo by Caroline Forbes

Composer/performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 25 years in North and South America, Europe and Asia. He leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla. Recent recordings include Intervals, a double-CD of solo work, and Are You Be, by R.U.B. (Rothenberg/Kazuhisa Uchihashi/Samm Bennett) on Rothenberg’s Animul label. Chamber music releases include Ghost Stories, on Tzadik and Power Lines on New World, along with Port of Entry, Sync’s release on Intuition. Other collaborators have included Sainkho Namchylak, Paul Dresher, John Zorn, Marc Ribot, Yuji Takahashi and Evan Parker. For more visit www.nedrothenberg.com

Samm Bennett is a composer and percussionist who over the past 25 years has blazed his own paths in the exploration of rhythm and polyrhythm. He’s long maintained an interest in electronic instruments as well as acoustic percussion, and his music has always been defined by an enthusiastic embrace of new sonic possibilities. The years he spent in NY saw him working as an improvisor or bandmember with Elliott Sharp, Shelley Hirsch, Ned Rothenberg, Hahn Rowe, Tom Cora and many others, as well as a bandleader and singer/songwriter with his own groups Chunk and History of the Last Five Minutes. Since 1995 he has resided in Tokyo, where he’s performed and recorded with musicians such as Haino Keiji, Yoshigaki Yasuhiro, Haco, Uchihashi Kazuhisa, Carl Stone, Akiyama Tetuzi, Tanaka Yumiko and others. He is a member of the the song/electronica project Skist, along with vocalist and sound creator Haruna Ito. Solo performance has become Bennett’s main focus over the last couple of years, and in 2004 he released “Secrets of Teaching Yourself Music” (Improvised Music From Japan IMJ-516), a live recording from solo concerts at various Tokyo venues. The album features his work on WaveDrum plus various other instruments and gadgets. The Wire’s Edwin Pouncey called the record an “amusing and entertaining DIY musical primer… Bennett’s lively manipulation of sound never fails to uncover some new means of communication between the objects he has assembled.”

photo from downtownmusic.net

Electric bassist Stomu Takeishi has recorded and toured with Myra Melford’s Crush Trio, Henry Threadgill’s Make A Move band, Eric Friedlander’s Topaz and with Dave Tronzo’s Tronzo Trio. He has recorded with Paul Motian and Mick Goodrick and has performed with Don Cherry, Bob Moses, Dave Liebman, Wynton Marsalis, Randy Brecker, Rasheed Ali, and Leni Stern.

“Demotic” by Antoinette LaFarge and Robert Allen
a performance work about American Memory, a single character whose many voices are woven together into a complex texture of language, sound, and music to create a kind of covert national anthem.

“Demotic …of or pertaining to the current ordinary everyday form of a language; of or pertaining to the common people.”

All performances at 10pm EST (7pm PST)
Thursday, July 29
Friday, July 30
Saturday, July 31

How do we best portray the multiplicity underlying the American experience? In “Demotic,” artists Antoinette LaFarge and Robert Allen harness the Internet and the stage to create a performance work exploring American Memory. Made possible through the Beall Center’s high speed connectivity, the performance features a single live actor who draws on an ensemble of sound artists, dispersed performers, avatars, and the everyday experience of online citizens. From this tour-de-force improvisation emerges both a complex texture of language, sound, and music and a contemporary national anthem.

Live performances will take place at the Beall Center for Art and Technology, Irvine, CA.

]]>Mark Themann (Germany/Australia)http://www.location1.org/mark-themann/
http://www.location1.org/mark-themann/#respondSat, 17 Jan 2004 07:50:18 +0000http://test.location1.org/news/mark-themann-germanyaustralia/Mark Themann received his M.F.A. from the California State University Long Beach in 1984.

“RE/ general focus of work

1.Collaborate with the contexts + possibilities at Location One. This open approach, refuses a pre-determinism + echoes my 20 years of nomadicism within: Site specific “Installations”, Performances and a Sculptural practice, enacted across Australia, Western and Eastern Europe, and the USA.

2.Given the artists and cross media and cross cultural contexts, accessible via Location One, how can a context specific practice, continue to objectify, as an intuitive process, a paradoxical occurrence and a conceptually pointed manifestation?

3.Can a materiality (including the “high –tech” + the collaborative) and the conceptual – can each be utilized, to (both) reflect on itself and question the other. Start with the video/DVD media “finish” with the question: Where does one gesture end and the other begin?”
Recent exhibitions include: Palazzo della Pappesse, Siena, Italy; ARCO, Madrid, Spain; Palais de Tokyo, Paris, France.

]]>http://www.location1.org/mark-themann/feed/0BENOIT MAUBREY and AUDIO BALLERINAShttp://www.location1.org/benoit-maubrey-and-audio-ballerinas/
Fri, 24 Jan 2003 21:29:34 +0000http://www.location1.org/benoit-maubrey-and-audio-ballerinas/Benoît Maubrey and his Berlin-based Audio Gruppe build electro-acoustic clothing and suits. These are clothes equipped with loudspeakers, amplifiers, and 257 K samplers that enable them to react directly with their environment by recording live sounds, voices, or instruments in their proximity, and amplifying them as a mobile and multi-acoustic performance.
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Note: Space is limited and the performance will begin promptly at 8 PM at Location One’s gallery at 26 Greene Street. Audience members are advised to arrive early to assure admission. Doors will open at 7:30 PM for ticket purchase or for member sign-in.

The Audio Ballerinas will perform two pieces; PEEPERS (8 minutes): Audio Ballerinas with photo-resistor sensors and group choreography with spotlights on tripods, and YAMAHA LADIES (15 minutes): Audio Ballerinas with exposed Yamaha keyboards and mercury sensors. Their movements trigger the various sounds and melodies of the dismembered keyboard. These pieces have been choreographed by Katja Rotzoll and arranged by Irina Kornejewa. There will also be a special solo performance, AUDIO HAT, choreographed and performed by Irina Kornejewa. Kornejewa has worked with a group of New York dancers to create these performances, which have been facilitated with the technical assistance of Thomas Berndt and Location One. [See image gallery at www.location1.org]

Benoît Maubrey and his Berlin-based Audio Gruppe build electro-acoustic clothing and suits. These are clothes equipped with loudspeakers, amplifiers, and 257 K samplers that enable them to react directly with their environment by recording live sounds, voices, or instruments in their proximity, and amplifying them as a mobile and multi-acoustic performance. They also wear radio receivers, contact microphones, light sensors and electronic looping devices in order to produce, mix, and multiply their own sounds and compose these as an environmental concert. The performers use rechargeable batteries and/or solar cells, which ensures them complete mobility both indoors and outdoors.

Thanks to the vision and generosity of the Rockefeller Family Foundation, Location One has conducted over the past year a continuing investigation into the possibilities of collaborative Internet-based interactivity, combining real-time drama or physical movement with electronic audio and visual production. This performance is the latest experiment in this investigation.

October 2002 –June 2003
Isabelle Jenniches received her Master’s degree in Scenography from the Academy of Applied Art in Vienna, Austria, and a postgraduate degree in Digital Media, Communication and the Arts from Media-GN, the Netherlands. In her work, which often evolves out of close collaborations with other artists, actors, dancers and musicians, Isabelle exploits the social and emotional impact of new forms of mediated communication in theatrical situations, using, for example, telepresent characters.

In her onsite/online performances, she often draws upon such “low tech” sources as the ubiquitous public webcam, and her ongoing compulsive collections of found footage from the Internet. Isabelle Jenniches’ work has been shown in such venues as Theater de Balie, Amsterdam, Grand Theatre,
Groningen, Society for Old and New Media, De Waag, Amsterdam and the World Wide Web.

During Isabelle’s residency at Location One, she will explore the concept of solitary as well as shared realtime telecasting and streaming media.

Location One is happy to present “Signal to Noise“, a group exhibition featuring works that explore the relationship of sound and light waves. Not merely illustrations of audio-visual synaesthesia, several of the pieces act literally as transducers, that is, devices that convert input energy of one form into output energy of another.The range of frequencies detectable by the human ear is about 20 Hz to 20,000 Hz, and the visible light spectrum is 400 terahertz (red light) to 740 terahertz (violet light). But there are also frequencies like radio waves, microwaves, infrared and ultraviolet light that, unless converted to a human-readable format, course through our environments invisibly and silently.

The notion of seeing the Invisible is both seductive and ordinary. From night vision goggles and microscopes to consumer software like iTunes that invites you to “visualize your music”; digital audio tools that render music as waveforms on a monitor, allowing an audio engineer to edit both visually and aurally, we are accustomed to a kind of mediated synaesthesia.

But in a sense, bringing to light the Invisible can be thought of as a metaphor for what all art (not to mention religion and philosophy) attempts to do. In “Signal to Noise” the artworks act as translators of sound waves to light waves (or vice versa) in elegant, sometimes quite low-tech and simple examples of this phenomenon.

Atsushi Nishijima, trained in experimental and contemporary music, creates sculptures and installations, which emphasize the idea that sound, and thereby music, is inherent in all objects and environments. He was artist-in-residence from Japan at Location One in 2001.

Erwin Redl uses sound and light to create both stunning large-scale installations and smaller meditative pieces. Most recently, his LED grid piece “Matrix VI” adorned the façade of the Whitney Museum for the 2002 Biennial.

Laurie Spiegel is a pioneer in computer music and one of the first composers to experiment with concepts of visual music. Though she navigates the upper echelons of high technology she “sees the computer as a new kind of folk instrument”. As she says, “music is a way to deal with the extreme intensity of moment to moment conscious existence.”

Heather Wagner has created sound installations and internet performances that explore ethernity, the imaginary connection between cyberspace and dreams. She also plays drums and is grateful to the curator for thinking of her.

]]>http://www.location1.org/signal-to-noise/feed/0In Hot Pursuit Series: Sonnets for an Old Centuryhttp://www.location1.org/in-hot-pursuit-series-sonnets-for-an-old-century/
Thu, 24 Jan 2002 05:01:17 +0000http://www.location1.org/in-hot-pursuit-series-sonnets-for-an-old-century/January 24 + 25 Sonnets for an Old Century

IN HOT PURSUIT at Location One
New Theatre. Innovative Directors.
Curated by Jocelyn Ruggiero

SONNETS FOR AN OLD CENTURY
A New Play by Jose Rivera
Directed by KJ Sanchez
January 24 and 25
8:00 PM Tickets $10 (Members free)

SONNETS FOR AN OLD CENTURY examines what it means to be alive at this particular time and place and what traces each of us will leave behind. In a series of exquisitely written monologues, using dance and live music, SONNETS captures the subtle, often overlooked treasures of everyday life.

KJ SANCHEZ (Director)
recently starred as Thyona in Charles L. Mee’s BIG LOVE at the Brooklyn Academy of Music. KJ was also fight captain this production which began at the 2000 Humana Festival, then moved to Long Wharf Theater, Berkeley Rep, The Goodman and culminated in the Next Wave Festival at BAM. This past year KJ created, choreographed and directed TOO MUCH WATER, a dance theatre piece about Ophelia, for the graduate theatre training program at the University of Washington in Seattle. KJ was a member of Anne Bogart’s SITI Company for many years with whom she co-created plays such as GOING GOING GONE, SMALL LIVES BIG DREAMS and CULTURE OF DESIRE and performed extensively throughout the US and internationally.

JOSÉ RIVERA (Playwright)
Puerto Rican-born Jose Rivera’s plays have been seen nationally, internationally and translated into seven languages. Rivera’s plays havebeen performed at the Joseph Papp Public Theatre, Playwrights Horizons, South Coast Rep, the Goodman Theatre, the Mark Taper Forum, Actors Theatre of Louisville’s Humana Festival, Hartford Stage Company, and Manhattan Class Company — as well as theatres in Mexico, Puerto Rico, Peru, Scotland, Greece, Rumania, Sweden, Norway, England, and France. They include the Obie Award-winning plays MARISOL and REFERENCES TO SALVADOR DALI MAKE ME HOT, as well as CLOUD TECTONICS, EACH DAY DIES WITH SLEEP, THE PROMISE, THE HOUSE OF RAMON IGLESIA, GIANTS HAVE US IN THEIR BOOKS, THE STREET OF THE SUN, SONNETS FOR AN OLD CENTURY, and SUENO. His work has been generously supported by the Kennedy Center Fund for New American Plays, the National Arts Club, the NEA, the Rockefeller Foundation, the New York Foundation for the Arts, the Fulbright Commission, PEN West, the Whiting Foundation, and the Berilla Kerr Foundation. THE HOUSE OF RAMON IGLESIA appeared on the public television series American Playhouse. Rivera has studied with Nobel Prize Winner Gabriel Garcia Marquez at the Sundance Institute and has been a writer-in-residence at the Royal Court Theatre, London. Television credits include co-creating and producing the critically-acclaimed NBC series “Eerie, Indiana” as well as “The Eddie Matos Story” for HBO; episodes of “Goosebumps,” “The Great Brain,” and “Night Visions” for the Henson Company; “The Brothers Garcia” for Nickelodeon; and “A.K.A. Pablo” for ABC. Films include “The Jungle Book: Mowgli’s Story,” “Mr. Shadow,” and “Family Matters,” all for Disney, as well as the 3-D IMAX film “Riding the Comet” for Sony. Current theatre and film projects include SCHOOL OF THE AMERICAS and BRAINPEOPLE (both commissioned by South Coast Rep), ADORATION OF THE OLD WOMAN (commissioned by La Jolla Playhouse), and the films “A Bolero for the Disenchanted” (Showtime), “Somewhere in Time, II” (Universal Home Video), “The Motorcycle Diaries,” (Robert Redford’s Wildwood Co. directed by Walter Salles), “Lucky” (Interscope), and “Cesar Chavez” (Showtime).

ATSUSHI NISHIJIMA
received his Bachelor’s degree in Musical Technology from the Osaka University of Art in 1989 and his Master’s degree in Media Art in 2001 from the International Academy of Media Arts and Science in Gifu. Trained in experimental and contemporary music, Nishijima creates sculptures and installations that emphasize the idea that sound, and thereby music, is inherent in all objects and environments. A particularly important resource for the artist is the city as a gigantic synthesizer from which everyday sounds are selected and transformed into a unique “sound” due to “space”. Nishijima’s work has been exhibited and performed throughout Japan (solo exhibitions: Osaka Contemporary Art Center and Ashiya City Museum of Art & History, Hyogo 1992; Dohjidai Gallery of Art, Kyoto, 1998), as well as Singapore, Paris and New York (“Citycircus”, New Museum of Contemporary Art, 1994, an exhibition curated by Laura Trippi).

The New York City based percussionist RICHARD LIVINGSTON HUNTLEY plays a wide variety of music including jazz, Brazilian, klezmer, and avant garde. He has performed and recorded with jazz greats Mulgrew Miller and Cameron Brown. Huntley has performed with notable jazz musicians such as Billy Drewes, Don Braden and Shunzo Ohno; the Brazilian pianist Dom Salvador; klezmer music with Frank London from the Klezmatics, among others. Huntley co-leads a band with the Danish saxophonist Emil Hess. The Hess/Huntley group has released two CDs, most recently “Skovens Nat.” The Hess/Huntley group has toured extensively throughout Europe and performs regularly in New York City. Huntley is also an endorser/clinician for Bosphorus cymbals and Regal Tip sticks and brushes.

EMILY MENDELSOHN (Stage Manager)
recently graduated from SmithCollege where she studied theatre and a whole lot else.She has dabbled in stage managing atTNC, The Bloomsbury Theatre in London and New England Actor’s Theatre in New Haven.
CAST BIOGRAPHIES:

GEORGE BASS
is a graduate of the High School of Performing Arts in Buenos Aires, Argentina, where he worked as an actor, singer, dancer, director and choreographer. In New York City since 1975, he has been actively working in theatre both English and Spanish. Principal credits include JESUS CHRIST SUPERSTAR, HAIR, ANTHON Y AND CLEOPATRA, ARSENIC AND OLD LACE , DEATH AND THE MAIDEN, LATE NITE CATECHISM and a concert version of DESIREE, a comic opera by J.P. Sousa (CD Recording). He is well known by Spanish audiences for his performances in Zarzuelas (Spanish Operettas) such as THE PHARAOH’S COURT, THE MERRY GENERAL’S WIFE, THE BARBER OF SEVILLE and LA PARRANDA. Mr. Bass received several awards and his voice can be heard in numerous T.V. and radio jingles and commercials. Film credits: THE BREAK and THE CRYSTAL CAGE. T.V. appearances include LAW & ORDER, AMERICA’S MOST WANTED, THE SOPRANOS, STRANGERS WITH CANDY and THE BEAT.

CAROLYN BAEUMLER
spent most of last year appearing with KJ Sanchez in Charles L. Mee’s BIG LOVE, directed by Les Waters (2000 Humana Festival at Actors Theatre of Louisville, Long Wharf Theatre, Berkeley Repertory, The Goodman Theatre, and the 2001 Next Wave Festival at BAM). Other recent credits include: Marilyn Monroe in MISS GOLDEN DREAMS (ACT,Seattle); Mae West in SEX (The Hourglass Group); understudy for Blanche and Stella in A STREETCAR NAMED DESIRE (NYTW); A CLOCKWORK ORANGE (Steppenwolf); Courtney Love in LOVE IN THE VOID; THE EROTICA PROJECT and IN-BETWEENS. She is a co founder of The Hourglass Group and a Usual Suspect at New York Theatre Workshop and Doug’s wife.

DOUG BOST
is an original member of the sketch comedy group Euphobia. He has been heard in the award-winning radio dramas DEAD MAN’S HOLE and DECEMBER17, both broadcast on Bavarian State Radio and National Public Radio’s NPR Playhouse. Doug is well known to lovers of Japanese hentai video as THE MASTER from the series BRIDE OF DARKNESS. Doug is also a writer.

ALLISON BRINER
was most recently seen in The Great Lakes Theatre Festival’s pre-Broadway production of LONESTAR LOVE OR THE MERRY WIVES OF WINDSOR, TEXAS. Prior to that she played the role of Chic in The Cape Playhouse production of CRIMES OF THE HEART, starring Sandy Duncan. Off Broadway: RETURN TO THE FORBIDDEN PLANET, FORBIDDEN BROADWAY, JACQUES BREL…THE 25TH ANNIVERSARY, FORBIDDEN HOLLYWOOD, SONG OF SINGAPORE and PETE “N” KEELY. National Tours: LES MISERABLES, TITANTIC…A NEW MUSICAL. Ms. Briner will be featured in The Denver Center for the Performing Arts’ production of ALMOST HEAVEN, the musical based on the life and music of John Denver.

RONALD COHEN
has appeared such roles as Shakespeare’s Othello, Vershinin in THE THREE SISTERS, and Graham in Stuart Spencer’s 10011/MANHATTAN ZIP. This past fall he was in Chiori Miyagawa’s WOMAN KILLER at HERE! Films include Frank Whaley’s THE JIMMY SHOW, show last week at Sundance Film Festival. For many years he was an editor at Women’s Wear Daily where he also reviewed theater and cabaret. He currently covers New York theater for Musical Stages Magazine, published in Britain.

BRIDGETT ANE LAWRENCE
is thrilled to be performing in this fabulous space with such talented people. Stage credits include: EINSTEIN’S DREAMS at the Kraine Theatre, the two-woman play SHE FINDS HER at the Manhattan Theatre Source, Nina in THE SEAGULL with StreetSigns Center for Literature & Performance, the American Globe Theatre’s ANTIGONE, Drew Pisarra’s YES IS FOR A VERY YOUNG MAN at the Brooklyn Arts Exchange and two seasons of A CHRISTMAS CAROL at the Goodman Theatre in Chicago; BA received her BFA in Acting from Ithaca College. She would like to thank KJ for this rare opportunity and her beautiful, daring direction. BA dedicates this performance to her husband, Chris, a constant inspiration.

KRISTE PEOPLES
is not new to the stage, though SONNETS marks her first acting experience in some time. She can usually be found singing jazz and blues at clubs in and around Manhattan with her trio. Website: http://www.kristepeoples.com

JOCELYN RUGGIERO
last worked with KJ Sanchez developing an original project about medicine this past summer. They met while acting in a production of FEFU AND HER FRIENDS at Santa Fe Stages, directed by Maria Irene Fornés. Other acting credits include THE MAN WHO SHOT HIS WASHING MACHINE, directed by Tom O’Horgan at TNC; THE BITTER TEARS OF PETRA VON KANT, directed by Sonja Moser; SPRINGTIME at The Image Theatre and LOVE AND UNDERSTANDING at Long Wharf Theatre, directed by Mike Bradwell. In March, she will perform at Location One in PHILOCTETES, directed by Sonja Moser. Jocelyn is currently rehearsing PERSEPHONE, written and directed by Emily Davis, a play that will use masks and puppets by Shannon Harvey. She is a graduate of Sarah Lawrence College.

DAWN AKEMI SAITO
actress/performance artist, writer and Butoh dancer/choreographer has collaborated with major innovative performance groups, as well a presenting her own works in New York, Los Angeles and Europe. Her works include: A FACE OF OUR OWN, in collaboration with composer Myra Melford presented at the Orpheum Theatre in Graz, Austria; Leaves, Water, Sun (Berkshire Theater); Red Eye (Whitney Museum at Philip Morris); HALO (Asian American Theater Workshop at Mark Taper and Highways); HA directed by Maria Mileaf (Dance Theater Workshop, New York Theater Workshop); PASTIME (LaMaMa, E.T.C.); DreamCatcher (Dance Theater Workshop and Aaron Davis Hall). Other Dance/Theatre background includes performing in: Arden/Ardennes at Theatre du Rond-Point in Paris; MY HOUSE WAS COLLAPSING TOWARD ONE SIDE, conceived and directed by Charles Mee, Jr. with music composed by Myra Melford (Dance Theater Workshop); Bill T. Jones’ LAST SUPPER AT UNCLE TOM’S CABIN at Brooklyn Academy of Music; Ping Chong’s DESHIMA and ELEPHANT MEMORIES; Music-Theater Group’s MOBY DICK IN VENICE directed by Roman Paska at the Public Theater’s Henson Festival; CHILDREN OF WAR directed by Larry Sacharow at the Taganka Theatre in Moscow; ‘MAID by Erik Ehn and directed by Maria Mileaf at Lincoln Center’s Summer Festival; HEDDA GABLER at The Old Globe Theater; PHOTOGRAPHS AT S21, directed by William Carden; SUDDENLY LAST SUMMER and THE POET at Hartford Stage Co., directed by JoAnne Akalaitis. Dawn is currently an Artist-In-Residence and teaches at Fordham University.

The Internet as Author, Venue, and Performer
Conceived and created by Robert Allen and Antoinette LaFarge

8:00 PM
No Admission Charge

Direction by Robert Allen
Script by Antoinette LaFarge
Visual design by Antoinette LaFarge and Amy Kaczur in collaboration with Jon Winet and “Democracy-The Last Campaign”
Costumes by Nicole Evangelista
Character development & additional text by The Plaintext PlayersPerformances by Pathogen Arts: Kevin Keaveney and David Moo

Location One is pleased to present “Virtual Live”, a special streaming-video preview of The Roman Forum II: the will of the people and an accompanying online discussion of virtual performance.

Streaming Video Performance:

Two brief excerpts from the upcoming Roman Forum II will be streamed live on our website. The Roman Forum II is a neo-Vaudevillean performance work that focuses on the aftermath of the 2000 elections seen through the eyes of five Romans from the time of the emperor Nero. These excerpts feature live footage of an actor performing at Location One mixed in realtime with a preconstructed video environment using green-screen technology. These selections from Roman Forum II have a special relevance in the wake of the World Trade Center disaster as they feature meditations on the nature of our republic, the character of our president, and America’s “return to history”.

“Our goal is to give people some insight into the political machine that runs our lives,” say Robert and Antoinette. “We should not be tempted to marginalize the 2000 election fiasco in the face of the World Trade Center disaster. We are only now dealing with the long-term consequences of the decisions that put Bush into the White House instead of Gore, and as time distances us from the terrorist attacks, our ability to see things in a broader perspective only points more emphatically back to the issues raised in that election.”

All of the material in The Roman Forum II (both text and visuals) was developed from Internet resources, including virtual performances by the Plaintext Players (a pioneering Internet performance group directed by Antoinette), as well as chat rooms, bulletin boards, web pages, email and listservs, archives, webcams, etc.

Online forum:

Accompanying the streaming videos will be an online discussion on the nature of virtual performance led by the Plaintext Players using Location One’s Java chat client. The livestream/chat section of the site allows a seamless experience of “Virtual Live” by combining streaming video and live text in one window.

The five Roman characters of Roman Forum II — two of whom will be featured in the streaming video performances — were originally developed by The Plaintext Players in a series of online improvisations. In addition, a significant portion of the script for Roman Forum II is based on their online work.

The forum will begin with a brief improvisation by The Plaintext Players in their Roman characters, which will segue smoothly into an open discussion of avatars and online performance in which everyone logged in to the chat area will be welcome to participate.

Live Gallery Performance:
It will also be possible to attend “Virtual Live” in the flesh in our gallery space at 26 Greene Street where the video and forum will be projected live and a terminal will be provided for audience participation.

Note: The Roman Forum II was originally scheduled to premiere on the West Coast in November 2001 but was canceled by the producing venue in the aftermath of the September 11th terrorist attacks. Despite this, work on the project is continuing, with the premiere projected for fall 2002.

Biographies of the Artists

ROBERT ALLEN (director)
moved to the West Coast from New York, where his recent projects include How I Got That Story by Amlin Gray (August 2001, New York City), The Roman Forum (August 2000, Los Angeles), Dear Anton (Chekhov Now Festival, 1999), The Creditors (New York International Fringe Festival, 1999), “August in January,” a festival celebrating August Strindberg’s 150th birthday (Theater 22, 1999), Le MŽnage (LaMama E.T.C. 1998), Still Lies Quiet Truth (New York International Fringe Festival, 1998), and The Good Night (Theatre for the New City, 1998). In addition to Roman Forum II, upcoming productions include Twilight by Anna Deveare Smith (March 2002, Cal State Long Beach), The Measures Taken by Bertolt Brecht (April 2002, Los Angeles), and Ordnung und Unordnung (June 2002, Hellerau, Germany). Robert has an M.F.A. in Theater from Columbia University, where he studied directing with Anne Bogart. His work as a director is grounded in prior experience as a choreographer and performer in German Tanztheater, working with Reinhild Hoffmann (a contemporary of Pina Bausch) and other German directors. Robert also possesses an M.F.A. in modern dance from UCLA and a B.F.A. in visual art from the San Francisco Art Institute. He currently teaches at California State University, Long Beach, and Cypress College. His resume can be browsed online at http://members.loop.com/~hai.

ANTOINETTE LAFARGE (script/visual design/online direction)
is an artist and writer with a special interest in virtual realities and fictive worlds. She is the director of The Plaintext Players, an Internet performance group that uses net-based virtual worlds to stage their performances. She is also the founder-director of the Museum of Forgery, a virtual institute dedicated to the aesthetics of forgery. She is an associate of the Institute of Cultural Inquiry, Los Angeles, for whom she recently designed the book Benjamin’s Blind Spot (2001) and is the author of “Cylex,” a short fiction published in Wired 2.05, and a number of articles in Leonardo, Gnosis, and other magazines. In addition to Roman Forum II, upcoming projects include Reading Frankenstein, a multimedia theater work scheduled to premiere in 2003. She is an assistant professor of digital media at the University of California, Irvine, where she co-curated “SHIFT-CTRL: Computers, Games, and Art”, the inaugural exhibition of the Beall Center for Art and Technology (2000). She formerly taught at the School of Visual Arts, New York, where she received her M.F.A. in Computer Art. Her domain is www.forger.com.

NICOLE EVANGELISTA (costume designer)
currently freelances in the film and theater arena of New York City. Film and tv work includes: Saturday Night Live, Don’t Say a Word, Curse of the Jade Scorpion (dir. Woody Allen) and Third Watch. She has designed costumes for such productions as The Roman Forum (Side Street Live, LA, 2000), The Embraceable Me (Rachel Reiner Productions, NY, 2000), Richard IIFinding Louise (Oberon Theatre Ensemble, NY, 2000), Between Sets (Julliard Dance Division, NY, 2000), and Cherie (The Live Bait, Chicago, 1999), which earned her the Joseph Jefferson Award for Most Outstanding Costume Design of 1999. Nicole studied at the Julliard School and holds a B.F.A. in Costume Design from DePaul University. (The Eleventh Hour, NY, 2000),

AMY KACZUR (visual design/video editing)
is an interdisciplinary artist, currently working in video, film, and digital technologies. Recent works include White FlightDesire Dogs (2001), Effigy for a Good Life (2000), Hypnovator (2000), Snoots and Tales (1999), Nursing/Mother (1999). Recent exhibitions include Athens International Film and Video Festival (Ohio University, Athens); Film and Video Annual (Museum of Fine Arts, Boston); NO-TV & Movies #20 (RCTV, Rochester Community Television, the Media Center @ Visual Studies Workshop, Rochester, NY); Narration: Emblem and Sequence in Contemporary Art (Hilles Gallery, Creative Arts Workshop, New Haven); Centered on the Center (Huntington Beach Art Center, Huntington Beach, CA); Indomitable (The Beall Center for Art and Technology, University of California, Irvine). She received her B.F.A. from Tufts University (1983) and is currently an M.F.A. candidate at the University of California, Irvine (2002). (2001),

KEVIN KEAVENEY (Petronius Arbiter)
has been performing for several years in New York’s off-Broadway and downtown scene. the will of the people marks the sixth time he has worked with Robert Allen, previously having appeared in The Roman Forum (Petronius Arbiter, 2000), Strindberg’s Creditors (Gustav, 1999), The Secret History of the Lower East Side (1998), and Still Lies Quiet Truth (Baron Samedi, 1998). Kevin can also be seen as Orson Welles in the recent film Orson Welles Sells His Soul to the Devil. Kevin has a degree in theater from Yale University.

DAVID MOO (Marcus Tullius Cicero)
is a founding member of the Todd Theater Troupe and has performed a wide variety of roles, both large and small, in New York, around the country, and abroad. An aspiring director and playwright, he is currently collaborating with Robert Allen on several upcoming projects.

THE PLAINTEXT PLAYERS (character and script development)
are a collective of artists and writers who worked in a test-based virtual world to develop the characters and script of The Roman Forum. Founded in 1994, The Plaintext Players have presented their provocative shows at venues in the United States and Europe, including Literaturhaus München (Munich, 1999), Documenta X (Kassel, 1997), and the Venice Biennale (Italy, 1997). Plaintext Players taking part in The Roman Forum included Marlena Corcoran (Poppaea Sabina), Joe FerrariRichard Foerstl (Marcus Tullius Cicero), Lise Patt (Germania Servius), and Richard Smoley (Petronius Arbiter), together with Antoinette LaFarge as online director. (Quintus Roscius),

]]>Performance Ideas: Art as Spiritual Practicehttp://www.location1.org/performance-ideas-a-series-of-public-dialogues-on-the-contemporary-arts/
http://www.location1.org/performance-ideas-a-series-of-public-dialogues-on-the-contemporary-arts/#respondMon, 05 Nov 2001 21:23:23 +0000http://www.location1.org/performance-ideas-a-series-of-public-dialogues-on-the-contemporary-arts/Curated by Meredith Monk and Bonnie Marranca
]]>Performance Ideas: A Series of Public Dialogues on the Contemporary Arts

Meredith Monk is a performer, composer, choreographer, and filmmaker. She has been creating multi-media and musical works for more than three decades, among them Atlas, Quarry, Education of the Girlchild, and Songs from the Hill. A major retrospective of her work was shown at the Lincoln Center Festival 2000. Meredith Monk and visual artist Ann Hamilton have collaborated on a new work, titled Mercy.

Linda Montano is best-known for her many duration performances. She is also a teacher and writer whose books include Performance Artists Talking and Art in Everyday Life. She has taught and given workshops at universities and spiritual centers throughout the U.S. Linda Montano is based in Kingston, N.Y., where she runs the Art/Life Institute.

Erik Ehn has been writing an ongoing cycle of plays loosely based on the lives of saints and biblical characters, many of which are published in a volume entitled, The Saint Plays. His work includes musicals, plays for children, and opera libretti. He is an artistic director of the Tenderloin Opera Company in San Francisco. Erik Ehn’s work has been produced in theatres and universites throughout the U.S.

Eleanor Heartney is an arts critic and contributing editor to Art in America and artpress. She is the author of Critical Condition: American Culture at the Crossroads and Postmodernism. Currently, she is working on a book about the Catholic imagination in contemporary art, entitled Postmodern Heretics.

Alison Knowles is one of the founding figures of the Fluxus group. She has recently performed and exhibited at the Drawing Center in Soho using beans and paper as acoustic materials. Her sound sculptures in paper have taken her to Germany, Italy and often to Japan. Among her several books are: Bread and Water, Event Scores, and Footnotes.
Bonnie Marranca, Moderator.
She is the author of Ecologies of Theatre and Theatrewitings, and editor of several anthologies, including Conversations on Art and Performance, Plays for the End of the Century, and The Theatre of Images. She is editor of PAJ: A Journal of Performance and Art and Curator of Special Performance Projects at Location One.

]]>http://www.location1.org/performance-ideas-a-series-of-public-dialogues-on-the-contemporary-arts/feed/0Wake the Dead Spring Music Series: Earl Howard & Mari Kimurahttp://www.location1.org/wake-the-dead-spring-music-series-earl-howard-mari-kimura/
http://www.location1.org/wake-the-dead-spring-music-series-earl-howard-mari-kimura/#respondSat, 19 May 2001 20:30:49 +0000http://www.location1.org/wake-the-dead-spring-music-series-earl-howard-mari-kimura/The Third of five exciting performances will be a collaboration between Earl Howard and Mari Kimura. Mari Kimura and Earl Howard are both recognized composer/ performers in the field of electroacoustic music, as well as virtuosos on the violin and saxophone. They premiered both solos and duets for violin and saxophone, as well as compositions by Earl Howard for digitally processed violin and synthesizer (Kurzweill 2500).
]]>Wake the Dead: Spring Music Series, curated by Ned Rothenberg
Earl Howard and Mari Kimura
Saturday May 19th 2001
8:30PM
Admission: $8
Location One 26 Greene St. NY, NY 10013 (btw Canal & Grand)
Subway: Canal Street (N, R, 6, A, C, E, J, M, Z)
Call for Reservations: (212) 334-3347
www.location1.org

Location One announces its Spring Music Series, Wake the Dead. The Third of five exciting performances will be a collaboration between Earl Howard and Mari Kimura. Mari Kimura and Earl Howard are both recognized composer/ performers in the field of electroacoustic music, as well as virtuosos on the violin and saxophone. They will premier both solos and duets for violin and saxophone, as well as compositions by Earl Howard for digitally processed violin and synthesizer (Kurzweill 2500). Their performance will be presented in the gallery and streamed live at www.location1.org.

]]>http://www.location1.org/wake-the-dead-spring-music-series-earl-howard-mari-kimura/feed/0Wake the Dead Spring Music Series: Earl Howard & Mari Kimurahttp://www.location1.org/wake-the-dead-spring-music-series-earl-howard-mari-kimura-2/
http://www.location1.org/wake-the-dead-spring-music-series-earl-howard-mari-kimura-2/#respondSat, 19 May 2001 20:30:49 +0000http://www.location1.org/wake-the-dead-spring-music-series-earl-howard-mari-kimura/The Third of five exciting performances will be a collaboration between Earl Howard and Mari Kimura. Mari Kimura and Earl Howard are both recognized composer/ performers in the field of electroacoustic music, as well as virtuosos on the violin and saxophone. They premiered both solos and duets for violin and saxophone, as well as compositions by Earl Howard for digitally processed violin and synthesizer (Kurzweill 2500).
]]>Wake the Dead: Spring Music Series, curated by Ned Rothenberg
Earl Howard and Mari Kimura
Saturday May 19th 2001
8:30PM
Admission: $8
Location One 26 Greene St. NY, NY 10013 (btw Canal & Grand)
Subway: Canal Street (N, R, 6, A, C, E, J, M, Z)
Call for Reservations: (212) 334-3347
www.location1.org

Location One announces its Spring Music Series, Wake the Dead. The Third of five exciting performances will be a collaboration between Earl Howard and Mari Kimura. Mari Kimura and Earl Howard are both recognized composer/ performers in the field of electroacoustic music, as well as virtuosos on the violin and saxophone. They will premier both solos and duets for violin and saxophone, as well as compositions by Earl Howard for digitally processed violin and synthesizer (Kurzweill 2500). Their performance will be presented in the gallery and streamed live at www.location1.org.

Location One announces a Spring Music Series, Wake the Dead. The second of five exciting performances will be a collaboration between Leroy Jenkins and Felicia Norton. Their performance will be presented in the gallery and streamed live on our website: www.location1.org Leroy Jenkins, violinist/composer, is a “master who cuts across all categories” (San Francisco Chronicle). He received a Bessie Award for his opera, The Mother of Three Sons, which was produced by the New York City Opera and Houston Grand Opera. Jenkins, “New York’s soulfulest violin improviser” (Village Voice), is a major figure in the development of contemporary music.

Felicia Norton, dance soloist, featured in Philip Traeger’s book Dancers, is “an extraordinary dancer” (New York Times) who has performed internationally to critical acclaim. She has been described as “compellingly sensual…a lovely dancer” by the noted London critic, John Percival (Dance & Dancers). She was also deemed “the discovery of the evening” at the Third International Festival of Dance in Brussels. Leroy Jenkins and Felicia Norton have combined their talents to create an innovative fusion of contemporary dance and Jazz violin called “magical” by the New York Times. Since their collaboration on live music/dance programs began in 1988, they have presented specially created solos and commissioned duets with choreography by Molissa Fenley, Mark Dendy, Tamar Rogoff, Alison Chase, Linda Tarnay, Lynn Taylor Corbett and others at a range of venues including the Whitney Museum of Art at Phillip Morris, the Lincoln Center Out-of-Doors Festival, Performance Space 122, the 14th St. Dance Center, the Metropolitan Artists Series at the Met Life Building and Merkin Concert Hall — all in New York City.

They have also been presented by the Pyramid Art Center in Rochester, N.Y., Dance Place in Washington, D.C., Connecticut College, Seven Lakes in Atlanta, GA., the Contemporary Arts Center in New Orleans, LA., Bennington College in VT., The Music Gallery in Toronto, Ontario, The New Arts Program at the Painted Bride Art Center in Philadelphia, PA., the Duke University Institute of the Arts in Durham, N.C., as part of the National Performance Network Touring and Residency Program, and at Jazz Arts ’98 at the Carter Barron Ampitheater, Washington, D.C.

The Jenkins/Norton collaboration has been supported by funds form the New York Council on the Arts, Meet the Composer, and has received repeated commissions from the 14th St. Dance Center and Lincoln Center, N.Y.C.

Location One announces a Spring Music Series, Wake the Dead. The second of five exciting performances will be a collaboration between Leroy Jenkins and Felicia Norton. Their performance will be presented in the gallery and streamed live on our website: www.location1.org Leroy Jenkins, violinist/composer, is a “master who cuts across all categories” (San Francisco Chronicle). He received a Bessie Award for his opera, The Mother of Three Sons, which was produced by the New York City Opera and Houston Grand Opera. Jenkins, “New York’s soulfulest violin improviser” (Village Voice), is a major figure in the development of contemporary music.

Felicia Norton, dance soloist, featured in Philip Traeger’s book Dancers, is “an extraordinary dancer” (New York Times) who has performed internationally to critical acclaim. She has been described as “compellingly sensual…a lovely dancer” by the noted London critic, John Percival (Dance & Dancers). She was also deemed “the discovery of the evening” at the Third International Festival of Dance in Brussels. Leroy Jenkins and Felicia Norton have combined their talents to create an innovative fusion of contemporary dance and Jazz violin called “magical” by the New York Times. Since their collaboration on live music/dance programs began in 1988, they have presented specially created solos and commissioned duets with choreography by Molissa Fenley, Mark Dendy, Tamar Rogoff, Alison Chase, Linda Tarnay, Lynn Taylor Corbett and others at a range of venues including the Whitney Museum of Art at Phillip Morris, the Lincoln Center Out-of-Doors Festival, Performance Space 122, the 14th St. Dance Center, the Metropolitan Artists Series at the Met Life Building and Merkin Concert Hall — all in New York City.

They have also been presented by the Pyramid Art Center in Rochester, N.Y., Dance Place in Washington, D.C., Connecticut College, Seven Lakes in Atlanta, GA., the Contemporary Arts Center in New Orleans, LA., Bennington College in VT., The Music Gallery in Toronto, Ontario, The New Arts Program at the Painted Bride Art Center in Philadelphia, PA., the Duke University Institute of the Arts in Durham, N.C., as part of the National Performance Network Touring and Residency Program, and at Jazz Arts ’98 at the Carter Barron Ampitheater, Washington, D.C.

The Jenkins/Norton collaboration has been supported by funds form the New York Council on the Arts, Meet the Composer, and has received repeated commissions from the 14th St. Dance Center and Lincoln Center, N.Y.C.

Location One is happy to present Ken Butler’s Voices of Anxious Objects. The performance will take place in the gallery and be streamed live on our website.

The artist/musician performs mesmerizing world trance textures and driving gypsy grooves on an amazing arsenal of amplified hybrid string instruments made from household objects and tools. Duchampian Dada meets Hybrid Hindu Hendrix. Function and form collide as audio-visual antics and explorations create a provoking cultural portrait of man/machine adaptation and transformation. A performance may also include interactive hybrid audio-visual keyboards powered by motorized strummers which control lights, slide animation, motion, and video projections.

“. . . a crazy instrument builder who can get virtuoso riffs from anything.” — Kyle Gann, The Village Voice, 12/29/92

“Ken Butler’s work is enormously interesting, particularly his idea of recycling and giving voice to found objects.” — Laurence Libin, curator of musical instruments at The Metropolitan Museum, The New York Times, 6/12/94

His works have been featured in numerous exhibitions and performances throughout the USA, Canada, and Europe including The Stedelijk Museum in Amsterdam and Exit Art, Thread Waxing Space, The Kitchen, The Brooklyn Museum, Lincoln Center and The Metropolitan Museum of Art in New York City as well as in South America, Thailand, and Japan.

His works have been reviewed in The New York Times, Artforum, The Village Voice, and Smithsonian and have been featured on PBS, CNN, MTV, and NBC, including a live appearance on The Tonight Show.

Awards include fellowships from the Oregon Arts Commisssion, the New York Foundation for the Arts, and the National Endowment for the Arts.

Ken Butler studied viola as a child and maintained an interest in music while studying visual arts in France, at Colorado College, and Portland State University where he completed his MFA in painting in 1977. He has performed with John Zorn, Laurie Anderson, Butch Morris, The Soldier String Quartet, The Tonight Show Band, and The Master Gnawa musicians of Morocco. His CD, Voices of Anxious Objects is on Zorn’s Tzadik label. Works by Ken Butler are represented in public and private collections in Portland, Seattle, Vail, Los Angeles, Toronto, Montreal, and New York City including the permanent collection of The Metropolitan Museum of Art.

]]>http://www.location1.org/voices-of-anxious-objects/feed/0Partners in Crimehttp://www.location1.org/partners-in-crime/
http://www.location1.org/partners-in-crime/#respondSat, 16 Dec 2000 18:34:58 +0000http://www.location1.org/partners-in-crime/Sync might be envisioned as a modified sax/bass/drum trio, where the bassist has been replaced by Jerome Harris on either acoustic guitar or acoustic bass guitar, and where the drummer's role is taken by Samir Chatterjee on tabla and dumbek.
]]>NED ROTHENBERG@ LOCATION ONE

“Sync might be envisioned as a modified sax/bass/drum trio, where the bassist has been replaced by Jerome Harris on either acoustic guitar or acoustic bass guitar, and where the drummer’s role is taken by Samir Chatterjee on tabla and dumbek.

With Rothenberg moving among alto sax, clarinet, bass clarinet, and the Japanese shakuhachi and composing looping ribbons of melody with odd rhythmic contours, the trio has found a most palatable merger of jazz and Asian music.

The uncommon instrumentation is enhanced by a shared sense of purpose that gives Sync its winning character. Each player displays both the techniques and the sensitivity required to function as both soloist and accompanist, allowing Sync to maintain its three-way conversations after Rothenberg has finished soloing. This is not simply a matter of the leader’s ability to sustain extended melodic and rhythmic variations at lower volumes through circular breathing; it also results from the assurance that allows Harris to sustain a pronounced rhythmic underpinning in his guitar work and rare melodic fluency on bass.

Chatterjee, who can sing and then play back the most complex patterns in the manner of the great tabla masters, also senses how to highlight more compact, swing-oriented parts through shifts in accents and dynamics. The sound of Sync (is) always warm and glowing.” Bob Blumenthal, Boston Globe

Jerome Harris has been widely acclaimed as one of the most versatile and penetrating jazz and new music stylists of his generation on both the guitar and the bass guitar. His formative musical experiences included singing and playing rural and urban blues, folk and gospel music, in addition to the full range of American popular music genres. His first major professional performing experience came as bassist with Sonny Rollins in 1978; more recently he has played guitar for Rollins, and has also recorded and/or performed live on six continents with Jack DeJohnette, Bobby Previte, Bill Frisell, Oliver Lake, Ray Anderson, Bob Stewart, George Russell, Julius Hemphill,Amina Claudine Myers, Ned Rothenberg, Bob Moses, and many others.

Harris’ extensive international touring has included several stints in Japan with Sonny Rollins, as well as U.S. State Department tours of India and the Middle East with Jay Hoggard and of five African nations with Oliver Lake and Jump Up.

After studying psychology and social relations at Harvard University (A.B. 1973), Harris attended New England Conservatory of Music as a scholarship student in jazz guitar, graduating with honors in 1977. Harris’ debut recording as a leader, Algorithms (Minor Music), garnered accolades from critics for his deeply personal guitar playing and original electric jazz compositions. In Passing (Muse) highlighted his melodic and driving bass guitar work.

Samir Chatterjee is one of the leading Tabla-drum players of India. Born into a musical family in Calcutta, he began his studies of North Indian classical music at age 5. His principal studies have been under the careful guidance of Pandit. Amalesh Chatterjee (since 1966) and Pandit. Shyamal Bose (since 1984). As such Samir represents the Farrukhabad Gharana (school) of Tabla-playing. Chatterjee has appeared as a soloist and an accompanist at concerts and music festivals in India and abroad.

In September, 1998 he first performed with Pandit Ravi Shankar at Carnegie Hall and has since become Shankar’s regular accompanist in the U.S. Since 1982 he has toured regularly, visiting the U.S.A., Canada, U.K., France, Germany, Switzerland, Netherlands, Austria, Denmark, Poland, Tunisia, Singapore, Hong Kong, Indonesia, Thailand, Philippines, Bangladesh, Laos etc.

In July, 1994 Samir moved with his family to New York City in order to develop relationships with western musicians and to teach and perform Indian Classical music. Presently he is engaged in collaborations with musicians like Pauline Oliveros, Ned Rothenberg, Glen Velez, Bobby Senabria, Jerome Harris, Ben Verdery, Steve Gorn, and others. He was featured, along with Jerry Garcia, in Sanjoy Mishraís CD “Blue Incantation”. He is musical advisor/performer for two major dance companies based in New York: The Battery Dance Co. in “Songs of Tagore” and the Kathak Ensemble in “KA-TAP”.

Samir has been teaching for the last 20 years and many of his students are already established performers. He is the founder and director of CHHANDAYAN, an organization working in Calcutta, New York, Washington D.C. and Wilmington-Delaware to promote and preserve Indian music and culture.

Gerry Hemingway has been composing and performing solo and ensemble music since 1974. Mr. Hemingway’s newest working band is a quartet with either Ray Anderson, Robin Eubanks-trombone or Herb Robertson-trumpet, Ellery Eskelin-tenor sax and either Mark Dresser, Drew Gress or Mike Formanek on bass. The band performed 40 concerts in the US in 1998 and it’s first recording, Johnny’s Corner Song was released on the Auricle Record label in March of 1998.

Mark Dresser has been composing and performing solo contrabass and ensemble music professionally since 1972 throughout North America, Europe and the Far East. His own projects include Mark Dresser’s “Force Green,” and the Mark Dresser Trio, performing his music for the French Surrealist film masterpiece of Luis Bunuel and Salvador Dali, “Un Chien Andalou” as well as the German expressionist silent film classic, “The Cabinet of Dr. Caligari”.

Additional original solo bass music was composed for the New York Shakespeare Festival Production of HENRY VI. Collaborative projects include “The Double Trio” comprised of the “Arcado String Trio” and the Trio du Clarinettes.

]]>http://www.location1.org/partners-in-crime/feed/0Synchttp://www.location1.org/sync/
http://www.location1.org/sync/#respondFri, 15 Dec 2000 18:13:24 +0000http://www.location1.org/sync/Sync might be envisioned as a modified sax/bass/drum trio, where the bassist has been replaced by Jerome Harris on either acoustic guitar or acoustic bass guitar, and where the drummer’s role is taken by Samir Chatterjee on tabla and dumbek.]]>NED ROTHENBERG@ LOCATION ONE

“Sync might be envisioned as a modified sax/bass/drum trio, where the bassist has been replaced by Jerome Harris on either acoustic guitar or acoustic bass guitar, and where the drummer’s role is taken by Samir Chatterjee on tabla and dumbek.

With Rothenberg moving among alto sax, clarinet, bass clarinet, and the Japanese shakuhachi and composing looping ribbons of melody with odd rhythmic contours, the trio has found a most palatable merger of jazz and Asian music.

The uncommon instrumentation is enhanced by a shared sense of purpose that gives Sync its winning character. Each player displays both the techniques and the sensitivity required to function as both soloist and accompanist, allowing Sync to maintain its three-way conversations after Rothenberg has finished soloing. This is not simply a matter of the leader’s ability to sustain extended melodic and rhythmic variations at lower volumes through circular breathing; it also results from the assurance that allows Harris to sustain a pronounced rhythmic underpinning in his guitar work and rare melodic fluency on bass.

Chatterjee, who can sing and then play back the most complex patterns in the manner of the great tabla masters, also senses how to highlight more compact, swing-oriented parts through shifts in accents and dynamics. The sound of Sync (is) always warm and glowing.” Bob Blumenthal, Boston Globe

Jerome Harris has been widely acclaimed as one of the most versatile and penetrating jazz and new music stylists of his generation on both the guitar and the bass guitar. His formative musical experiences included singing and playing rural and urban blues, folk and gospel music, in addition to the full range of American popular music genres. His first major professional performing experience came as bassist with Sonny Rollins in 1978; more recently he has played guitar for Rollins, and has also recorded and/or performed live on six continents with Jack DeJohnette, Bobby Previte, Bill Frisell, Oliver Lake, Ray Anderson, Bob Stewart, George Russell, Julius Hemphill,Amina Claudine Myers, Ned Rothenberg, Bob Moses, and many others.

Harris’ extensive international touring has included several stints in Japan with Sonny Rollins, as well as U.S. State Department tours of India and the Middle East with Jay Hoggard and of five African nations with Oliver Lake and Jump Up.

After studying psychology and social relations at Harvard University (A.B. 1973), Harris attended New England Conservatory of Music as a scholarship student in jazz guitar, graduating with honors in 1977. Harris’ debut recording as a leader, Algorithms (Minor Music), garnered accolades from critics for his deeply personal guitar playing and original electric jazz compositions. In Passing (Muse) highlighted his melodic and driving bass guitar work.

Samir Chatterjee is one of the leading Tabla-drum players of India. Born into a musical family in Calcutta, he began his studies of North Indian classical music at age 5. His principal studies have been under the careful guidance of Pandit. Amalesh Chatterjee (since 1966) and Pandit. Shyamal Bose (since 1984). As such Samir represents the Farrukhabad Gharana (school) of Tabla-playing. Chatterjee has appeared as a soloist and an accompanist at concerts and music festivals in India and abroad.

In September, 1998 he first performed with Pandit Ravi Shankar at Carnegie Hall and has since become Shankar’s regular accompanist in the U.S. Since 1982 he has toured regularly, visiting the U.S.A., Canada, U.K., France, Germany, Switzerland, Netherlands, Austria, Denmark, Poland, Tunisia, Singapore, Hong Kong, Indonesia, Thailand, Philippines, Bangladesh, Laos etc.

In July, 1994 Samir moved with his family to New York City in order to develop relationships with western musicians and to teach and perform Indian Classical music. Presently he is engaged in collaborations with musicians like Pauline Oliveros, Ned Rothenberg, Glen Velez, Bobby Senabria, Jerome Harris, Ben Verdery, Steve Gorn, and others. He was featured, along with Jerry Garcia, in Sanjoy Mishraís CD “Blue Incantation”. He is musical advisor/performer for two major dance companies based in New York: The Battery Dance Co. in “Songs of Tagore” and the Kathak Ensemble in “KA-TAP”.

Samir has been teaching for the last 20 years and many of his students are already established performers. He is the founder and director of CHHANDAYAN, an organization working in Calcutta, New York, Washington D.C. and Wilmington-Delaware to promote and preserve Indian music and culture.

Gerry Hemingway has been composing and performing solo and ensemble music since 1974. Mr. Hemingway’s newest working band is a quartet with either Ray Anderson, Robin Eubanks-trombone or Herb Robertson-trumpet, Ellery Eskelin-tenor sax and either Mark Dresser, Drew Gress or Mike Formanek on bass. The band performed 40 concerts in the US in 1998 and it’s first recording, Johnny’s Corner Song was released on the Auricle Record label in March of 1998.

Mark Dresser has been composing and performing solo contrabass and ensemble music professionally since 1972 throughout North America, Europe and the Far East. His own projects include Mark Dresser’s “Force Green,” and the Mark Dresser Trio, performing his music for the French Surrealist film masterpiece of Luis Bunuel and Salvador Dali, “Un Chien Andalou” as well as the German expressionist silent film classic, “The Cabinet of Dr. Caligari”.

Additional original solo bass music was composed for the New York Shakespeare Festival Production of HENRY VI. Collaborative projects include “The Double Trio” comprised of the “Arcado String Trio” and the Trio du Clarinettes.

]]>http://www.location1.org/sync/feed/0RECONNAISSANCE Ihttp://www.location1.org/reconnaissance-i/
Wed, 03 Jun 1998 22:13:03 +0000http://test.location1.org/events/reconnaissance-i/Japanese Butoh Dancers, Tomoe Shizune + Hakutobo, will dance simultaneously in New York and in Tokyo to music improvised in New York by the brilliant Elliott Sharp.
]]>Tokyo-New York Teleconference Wednesday, June 3, 1998
Location One, in collaboration with Roulette, presents RECONNAISSANCE I, a multimedia extravaganza that will give us a glimpse of the wild frontier where art and technology conspire these days. The Japanese Butoh Dancers, Tomoe Shizune + Hakutobo, will dance simultaneously in New York and in Tokyo to music improvised in New York by the brilliant Elliott Sharp. They will dance separately on two different continents in physical space but they will dance together in cyberspace.9:00 PMButoh Dancers: Tomoe Shizune + Hakutobo;Music by Elliott Sharp10:00 PMSolo Saxophone Performance by Ned Rothenberg;Digital Installation + Virtual Environment by Floating Point Unit (FPU);Projections by Janene Higgins + Jae Sil Byun;Screenings of the best video works by Christian Marclay, Neil Goldberg, The Poool;Robot Drama by Adrianne Wortzel.In a major Tokyo-New York teleconference projected onto large screens, Floating Point Unit (FPU), digital installation artists, will utilize a combination of video conferecne technlogies to accomplish a networked interwearving of the Butoh dance performances occurring simultaneously in New York and Tokyo. Through the use of 3D rendering software (VRML), they will create a computer-centric visual environment, a “virtual stage set” into which the dancers will be immersed (superimposed) in realtime. They will move through our own physical space at the sme time as they dance in virtual space!